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HomeMy WebLinkAbout25B - AGMT - ARTS AND CULTURE MASTER PLANREQUEST FOR COUNCIL ACTION CITY COUNCIL MEETING DATE: MAY 5, 2015 TITLE: AGREEMENT TO DEVELOP THE ARTS AND CULTURE MASTER PLAN {STRATEGIC PLAN NO. 5, 5A} CITY MANAGE RECOMMENDED ACTION CLERK OF COUNCIL USE ONLY: APPROVED ❑ As Recommended ❑ As Amended ❑ Ordinance on 1't Reading ❑ Ordinance on 2 "d Reading ❑ Implementing Resolution ❑ Set Public Hearing For_ CONTINUED TO FILE NUMBER Authorize the City Manager and Clerk of the Council to execute an agreement with the Cultural Planning Group to develop a citywide Arts and Culture Master Plan, for a one year period, terminating I on May 4, 2016, in the the amount not to exceed $175,568, subject to non - substantive changes approved by the City Manager and City Attorney. ARTS AND CULTURE COMMISSION ACTION At its regular meeting on April 16, 2015, by a vote of 5:2 (Crib and Alvarado opposing), the Arts and Culture Commission recommended that staff submit the Arts and Culture Commission's Master Plan recommendations to City Council. DISCUSSION On March 18, 2014, City Council adopted the Santa Ana Strategic Plan, which established specific goals, objectives and strategies to guide the City of Santa Ana's ( "City ") major efforts during the next five years. Funding was then appropriated towards Goal 5 (Community Health, Livability, Engagement & Sustainability), Objective 5 (Promote a strong arts and culture infrastructure), Strategy A, which states the City will work to develop an Arts and Culture Master Plan. The purpose of developing an Arts and Culture Master Plan is to is to create a common vision for the role that arts and culture should play in Santa Ana, as well as to ascertain what pieces of that vision can guide policy and programming to enhance the quality of life for Santa Ana residents, businesses and visitors. The Master Plan will reflect the community's desire to utilize arts and culture to enhance the sense of community; enhance economic vitality that is linked to arts and culture; create and support an environment where art and culture thrive and enrich the community culturally, aesthetically, educationally and economically. In December 2014, the Arts and Culture Commission (ACC) appointed an Ad Hoc Committee to develop the Requests for Proposals (RFP) for professional services to assist staff with the 2513-1 Arts and Culture Master Plan May 5, 2015 Page 2 development of an Arts and Culture Master Plan. On February 3, 2015, City Council approved the request to distribute the RFP. The City solicited proposals between February 5, 2015 and March 6, 2015. Outreach included posting to the City's website and PlanetBids. Staff also communicated electronically to a large network of organizations who had expressed an interest in receiving such notices. Following the release of the RFP, the City received a total of six proposals. The ACC reviewed and evaluated the proposals based upon four criterions: Project concept and solutions; Personnel and organizational experience, resources, and technical competence to facilitate accomplishments of stated scope of work; Demonstrated applicable experience; Total evaluated cost. Staff compiled the ratings and ranked the organizations. The Cultural Planning Group (CPG) received the highest average score of 74 (Exhibit 1). CPG is a consulting firm serving the field of arts and culture. CPG principals have prepared more than 60 cultural plans for communities throughout the nation, including the City of Los Angeles, City of Boulder, Colorado and City of San Antonio, Texas. The CPG team also has vast experience in projects relating to cultural facility and district plans, feasilbity studies, impact studies, arts research, public art plans, and assessments. Attached is the proposal from the CPG which includes the scope of work to develop the Arts and Culture Master Plan (Exhibit 2). It is anticipated that the Arts and Culture Master Plan process will take 10 months to complete with an additional two months to prepare the final report presentation for City Council. Staff will provide the Mayor and City Council with periodic updates on the progress of the Plan. Based on the ratings by the ACC, it is recommended that the City enter into an agreement (Exhibit 3) with CPG to develop the new citywide Arts and Culture Master Plan. STRATEGIC PLAN ALIGNMENT Approval of this item supports the City's efforts to meet Goal #5 Community Health, Livability, Promote a strong arts and culture infrastructure, Objective #5 (Promote a strong arts and culture infrastructure), Strategy A (Work closely with the Arts and Culture Commission and local artist organizations to develop an Arts Master Plan which will ensure all cultural programming, events and resource support). FISCAL IMPACT Funds are budgeted and available in the Community Activities, Contract Services — Professional Account (01105810-62300). 25B -2 Arts and Culture Master Plan May 5, 2015 Page 3 Community Development Agency Exhibit: 1. Ratings 2. CPG Proposal 3. Agreement APPROVED AS TO FUNDS AND ACCOUNTS: Francisco Gutierrez y� Executive Director Finance & Mgmt. Services Agency 25B -3 25B -4 EXHIBIT 1 25B -5 r 9 March 6, 2015 The Cultural Planning Group The Cultural Planning Group California, Philadelphia, Florida and Hawai'l Jerry Allen Partner 444 Hoover Road Sequel, CA 95073 lerry@cv ralelanniscam 831 - 4651953 (office) 4152710102 (mobile) Alliance for California Traditional Arts vrvm.uaihuralpianning,ce�n EXHIBIT 2 25B -7 Los Angeles, CA Amy Kitchener _ Executive Director 1000 North Alameda Street Suite 240 °noses° Los Angeles, CA 90012 vrvm.uaihuralpianning,ce�n EXHIBIT 2 25B -7 Table mfContents CoverLetter ..................... ............. ............ —.~^`~`^,~~`~~~..`~—~~...,~`~^'~~~.' Introduction ...~.� �... ..^.,.^...................^^a ProjectUnderstanding ................................................................. ~~~..~~..—^—�.......—.�3 WorkPlan .............. —..—,^^.~.~~^`~^.....~—~--~—~.~.~,~^—.—`~~~—~~.~^^. Approach........ .................... .................... ............ ~~—~~—~—~._~—~~,~^`~~,~~~,~~,_ Process........ ............................... ~~~_~,~^,~^,~~~,^_,^_~^~^^~^_,^`~^`~~~~�_� |nmodvmho ... .— ...,,....`,....^..........^..........^`...,...7 CommunityEngagement Approaches ...................................................................... ..................... ..................... 7 Phase |: Project initiation, Stakeholder & Community Engagement .—.— ...................... ....................... _. .... ... y Phase Two: Santa Ana Arts and Culture Plan Development ..... .................. ................... '.... ... ......... .... -1u Phase Three; Santa Ana Arts and Culture Master Plan Presentation and Approvals ..... .... ,. ......... . ............ /2 Detailed Task List and Cost Proposal ................................................... ...... ........... ....................... ..... ... 14 Consultant Requests vf the City of Santa Ana ................................................................. ...... I .............. Y8 Personneland Experience ........................................................................................ ....—,.—~...10 The Cultural Planning Group Overview ...... --.—~^~~..,~—`.~ ............................................... 20 Ouru*nicoo .............................. ~~, ........ _,~~,__~_~^~~,__,_^~~~~_` ..... ..... ..... .... �, Cultural Planning Experience ...... .............................. ................... ..... ... ..... .................. z( Our Clients .......^...`............~......,.......^...,.. .................................... ................ .............. .................. ......... 21 Alliance for California Traditional Arts Overview .......... —`~~`.^`.—~~~~^ .................................. X2 Consultant 8len ....................... ................ ~,`~~~, ........ ..... ,~~_~_,^~~,_~^. The Cultural Planning Group ............. ............................................... ........... ... .............. ............... 23 JerryAllen, Partner ..................................... ^~~'`--,~.~,—`.^,,~.~^—',__~^� ......... .... ..... Linda Flynn, nkuCPA Research & Project Lead ........ .......................................... I'll ... ...... 1. .... ...... ........ 23 vwmnep|amnopSaoocwn. Planner ..................... .......................................... ..................... ........ .................... 24 Alliance for California Traditional Arts ^~^^`'~—`^~`^^`~^—~~~^`^—`^.—....—.....25 AmyKitchener, Executive Director . ..................................... .......................... -- ............ ..... ........... ............. 25 Quot7aFloms,pmmumMeu0o_.....—,—~~^~~.---~~.~_—`—~..—.--.....—.26 CidoUohdvozPnioctCoordinumr—........—,.--~~.~—,.~`^—,~~.~.—,^~.`.~__~^^... roomExperience ................ .............. ...... ..... ___ ..................................... ,................. ... ................ 27 TheCultural Planning Group ..................................................................... ..`................ ......... ....... %7 The Alliance for California Traditional Arts ................................................ `~~~--.. .............. , ... 31 Proposed Timulno and Deliverables Schedule ...... . ................ ....................................... ...................... 32 References.................. ................ ............ ~_^—~^`~~_,_`,_`~^_~,`~_,,~,~,_~_~^. The Cultural Planning Group ....... ................. ~^.~~—~—`~~~~— ............... ... .......... ................. %} The Cultural Plannifig Group Cover Letter March 6, 2015 Kelly Reenders, Executive Director Community Development Agency City of Santa Ana 20 Civic Center Plaza, M -25, 61h Floor Santa Ana, 92702 Dear Kelly: On behalf of our team, I am pleased to submit our proposal to partner with you In developing the Santa Ana Arts and Culture Master Plan. This project represents an exceptional opportunity for the City, the arts community, and the community at large. We understand that Santa Ana has extraordinary arts and cultural resources that serve residents, workers, and more than two million annual visitors. Our team holds more than the requisite qualifications to facilitate a process to develop a plan that embodies Santa Ana's aspirations to create a community vision for arts and cultural. As you may be aware, we have more successful experience than any other firm in preparing cultural plans. This means we bring a broad perspective and toolklt to the challenges and possibilities In Santa Ana. We have a strong track record of plans that are implemented, in part because we utilize the planning process to create the consensus and political will necessary for Implementation. We also have a mindset and capacity for innovation, forging new solutions that fit the unique circumstances of the community. Our team includes two members of The Cultural Planning Group, which would serve as the lead consultant, We have two sub - consultants: the Alliance for California Traditional Arts (Amy Kitchener, Quetzal Flores and Citlalli Chavez) and Victoria Plettner- Saunders with the San Diego -based arts research and planning firm, v.p.s. oartographie. Our team members' backgrounds will greatly benefit this project: managing local arts agencies, cultural policy, political affairs, arts research and funding, California traditional and multi - ethnic arts, working with culturally diverse communities, public art, and audience development. We are seasoned practitioners, able to successfully navigate the Inevitable surprises and challenges that arise in any complex planning project. We are excited at the prospect of unearthing Santa Ana's overarching vision for Its own cultural development, and assisting the Arts and Culture Commission and the project Steering Committee to forge an aspirational roadmap for arts growth and development. Please let us know if we may provide you with any additional information. l3egt /ard ,� Jerry Allen, Partner The Culr ral Planning Group 25B -9 2 Introduction Project Understanding We understand that The City of Santa Ana seeks to develop an Arts and Culture Master Plan —a roadmap to advance Santa Ana towards enhancing its cultural assets for the benefit of its residents, workers, and visitors. The Request for Proposal (RFP) sets forth a series of goals and processes that will make the goal achievable over time. The City and communities of Santa Ana have significant cultural assets Including the distinct Downtown Santa Ana Historic Districts, the Artist Village, Bowers Museum, Yost Theatre. The City's Arts and Culture Commission has a broad mission of community service and a clearly defined set of responsibilities. These include: • Developing policies priorities and plans to develop the arts in Santa Ana; • Coordinating with public and private entities to promote the arts; • Encouragement of business and economic development and cultural tourism; • Celebrating the city's unique cultural heritage; • Distribution of City arts funding; • Design and placement of public art, utilizing local artists; and • Advocating for arts education, sister Cities and other cultural initiatives. Comprehensive Planning Goals and Issues The City has Identified two key planning goals: to create a common vision for the role that arts and culture should play in the Santa Ana as well a$ to determine which pieces of the vision can guide policy and programming. The overall vision for the plan is that the Implementation of Its outcomes will enhance quality of life for Santa Ana residents, visitors and businesses.. These goals may be adapted or built on as the planning process unfolds. Planning questions focus on analyzing and understanding Santa Ana's arts ecosystem and current audience, articulating a shared vision, identifying potential new participants and gaps in the infrastructure, anticipating future community needs, service within and beyond downtown, and leveraging the City's resources. We are aware of several key issues specific to the Santa Ana community that will have significant implications for cultural planning. The City has recently completed a Five -Year Strategic Planning process that included community input on arts and culture needs and desires. Much of the comprehensive research completed for that plan can inform this planning process, providing significant data regarding the landscape and ecosystem In which cultural planning will take place. In addition, the outcomes of the California Endowment's Building Healthy Communities Plan, in particular its efforts to empower the community to engage in discourse about Issues that Impact them and the influence Its had on raising community awareness around quality 25B -10 of life can greatly enhance their deslre and ability to participate In the cultural planning process. We look forward to working with the Building Healthy Communities Hub to connect and build on their efforts as appropriate. The Activating Cultural Assets Pilot Project asset mapping conducted with the Alliance for California Traditional Arts is a key tool for planning and an Ideal starting point for additional asset mapping that would take place during this planning process as well. The City's Community Engagement Plan will likely have connecting points and areas that can be aligned with cultural planning. We will meet with the consultants the City has engaged to implement that plan and Identify how these two planning efforts can benefit one another. To understand cultural planning In Santa Ana requires an understanding not only of Its demographic data (80% Latlno; 40% born outside the United States; a majority speak a language other than English at home; roughly 30% are under the age of 25, and almost 50% under the age of 34; etc.) but of the changes in the landscape that have led to tensions around gentrification, downtown vs. suburban amenities, and at -risk youth. To ensure that our already Inclusive planning process is sensitive to and properly addresses these issues within the cultural planning context in Santa Ana, we have engaged the Alliance for California Traditional Arts (ACTH) as sub consultants for co- developing and implementing the. plan for community engagement activities and for gathering community Input, ACTA brings their collective experience with reaching deeply Into a community to hear voices not often heard as well as previous experience in Santa Ana, staff who grew up in the area, bilingual capabilities and responsivity to cultural diversity and Its community value. They have an approach that they refer to as "community engagement at the kitchen table" that can greatly enhance our cultural planning efforts for Santa Ana. The city's unusually high youth population and the community's desire for their involvement with the plan will be achieved In part by working closely with the City's Youth Commission, as well as organizations such as Kid Works, Raiz, and El Centro Cultural de Mexico to get their own feedback in addition to identifying ways that they can work with us to gather community input. For a community like Santa Ana in which youth empowerment Is a recognized value, there are significant learning and leadership opportunities that can be gained by their Inclusion In the planning process. We would like to explore with you how to include them In the process in constructive, productive and educative ways. Expectations of the Consultants The consulting team will work in partnership with Santa Ana and the community in developing this plan. In any planning process, inclusive public participation is essential to the project. The consultants will work closely with staff to raise resident awareness, inform the public on an ongoing basis, learn the community's needs and priorities, and build support for adoption and implementation of the plan. Equity is also Important to the plan; in Santa Ana in particular, there is a clear need for developing community The Cultural Planning Group 25B -11 4 processes that seek to fully incorporate the diversity that is a hallmark characteristic of the city. This includes multi - lingual, multi - ethnic and multi-gonerational community engagement activities as well as gathering input from the grassroots as well as the grass tops. In addition, inviting and including artists' creativity as appropriate will help distinguish this plan and make it more authentic. We provide effective project leadership, facilitation, communications, advice, benchmarking with other communities, best practices, new ideas, and assistance with vetting and adoption of the plan. The planning document must be an effective and energizing communications tool, including images, text, maps and drawings. It should include the findings of the assessment, visioning, and recommended strategies for equitable distribution of arts opportunities, public art, funding, leveraging the resources of the City, program delivery, facility development, and documentation of the planning process. The plan must also be consistent with the Santa Ana General Plan, five -Year Strategic Plan, Community Engagement Plan, as well as other relevant plans, policies and studies. Work Plan MHOM Our Philosophy of Cultural Planning We believe that arts and culture are among a community's most powerful assets. They distinguish each community and allow residents to better understand and celebrate the uniqueness of their lives. As the "Smart Cities" movement Illustrates, arts and culture are also a competitive tool, strengthening many elements of civic life, including the economy, workforce development, education, youth development, neighborhood development, redevelopment projects, sustainability, and cultural equity. An increasing body of research documents how thoughtful cultural policy is essential to civic health. Cultural planning is a primary tool for organizing the best use of this critical asset. As practitioners of the craft, The Cultural Planning Group fundamentally views cultural planning as holding up a mirror to the community. To accomplish this, we emphasize diverse community Input, rigorous data collection, thoughtful team analysis of project issues, and substantial interaction with project leaders throughout the process. We do not do "cookie cutter" work. We listen well to cultural stakeholders, assess the needs of those not served by current programs, research questions that require new data, and develop solutions in consultation with project leaders. At the end of the process, the cultural assessment and planning report will reflect the community's diverse needs, aspirations, history and capacities. Rather than merely adopting methods used In other communities, we will help forge new solutlons that fit Santa Ana. We have a mindset towards, and a track record of, innovative solutions that expand national best practices. 25B -12 In San Antonio, we developed the first major city cultural plan to establish a direct linkage between cultural development and economic development by assessing the larger creative Industry. In Broward County (Florlda), we recommended the transformation of the local arts agency into the lead agency for the creative economy, not only "the arts," and restructuring it as a quasi- governmental agency, with greater autonomy in fulfilling its mission. In Minneapolis, in response to the gentrificatlon that was pricing artists out of the city, we proposed a public- private partnership for the creation of a Cultural Trust that would purchase the development rights to properties already providing artist live -work spaces. In Santa Monica, in response to exorbitant real estate costs, we proposed "Arts Alleys" to take advantage of underutllized properties along the alleys in the downtown core. In San Diego, we worked with local developers to extend the percent for art requirement to new commercial and industrial development in the city. We believe in and practice an inclusive planning process, with special attention to community engagement specific to each city. Working with the client, we identify cultural stakeholders and other community groups and leaders who will add to the depth of input shaping the collective cultural vision. We utilize surveys, interviews, online tools, social media, structured community conversations, charettes, artist -led workshops, community forums and other local opportunities to engage people. In Kansas City, a representative example, more than 3,000 people participated directly in the planning process. This Included 24 "community conversations," informal discussion groups held in diverse, grassroots settings throughout all neighborhoods of the city. In Santa Monica, children's art workshops associated with community planning meetings provided artworks portraying their vision of art In the community, Virtually all of our plans have been Implemented, or are currently In process. This Is possible because each plan is derived from the community. We manage the planning process to generate community consensus, leadership and support for the plan. cur Approach to the Santa Ana Arts Plan Our approach Is a comprehensive assessment and community engagement process, designed to ollcit not only a portrait of the arts ecosystem and arts audience, but also the community's vision and aspiration for cultural development, We understand the community process must be open, inclusive, and bi- lingual. The process will probe and articulate a shared vision to make the plan both specific and achievable, We have an excellent track record of creative and effective community engagement that yields information, consensus and momentum for implementation of the plan. Our proposed approach includes a menu of services and tools that can be customized, In consultation with the client, to form the most appropriate, Imaginative and useful scope of work. Most or all of the proposed services are possible within the general budget we anticipate for this project. We have provided a detailed description of our proposed scope of services for this project, Including the specific deliverables. T'he Gultural !'Tanning Group 25B -13 IV Process This full outline of our approach to the Santa Aria Arts and Culture Master Plan represents our best understanding of the needs of the project at this time. If selected, we will refine and customize the process to the specific needs for planning. The community engagement and research recommendations in particular are a menu of possibilities. We would select and adapt the most useful services to the project. We believe in and practice an inclusive planning process, with special attention to stakeholder and community engagement specific to each community. Working with the client, we Identify cultural stakeholders and other community groups and leaders who will add to the depth of the data, which Informs the city's cultural vision and its resulting plan. We employ individual interviews, surveys, online tools, social media, workshops, community conversations, community forums and other local opportunities to engage people. e a, This outlines a. comprehensive, proposed approach to community engagement and related research for the City of Santa Ana Arts and Culture Master Plan. If selected, we will work with Santa Ana to fully develop the most effective community engagement efforts for successful project outcomes. The intent of our community engagement efforts is to develop a "porous" system with many entry points through which anyone can participate in the process. Our approach includes multiple entry points for all sectors of the community, from the grassroots to the leadership level. Community engagement initiatives include traditional face -to -face interviews and personal meetings; discussion groups; cafe conversations (large - group); family- oriented creative workshops with local artist participation; online participatory tools such as MindMixer, and on -line polls; and —for those without computer access or who don't feel comfortable providing ideas or feedback online —the option to telephone or text ideas about their vision or to complete a traditional paper and pencil survey. Children's Artsimaglne workshop Key Person Interview and Focus Group Lists: Working with staff, the Steering Committee and other informants, we will develop a master list of Individuals and stakeholder groups to be consulted during the planning process. This may include local arts providers, City elected and appointed officials, community and business leaders, potential funding partners, civic associations, tourism associations, youth and senior groups, education leaders, the faith community, as well as any other leadership that would be valuable to the planning process. 25B -14 • Artslmaglne Workshops: These workshops allow residents with an alternative mode of participation In the planning process. Workshops are led by artists, in collaboration with the consultants, and can include adults as well as children. This is our approach to community participation based on the theory of "appreciative inquiry." Appreciative inquiry is used to discover, understand and foster Innovations in communities by gathering positive stories and images and constructing positive interactions. We focus on exploring ways to consider'what could be' and'what Is possible' by focusing on positive experiences and future vision— helping us to answer questions such as, "What inspires you to be part of the Santa Ana arts and cultural community?" and "What arts environment would you most like to help bring alive in the next 10 years?" or "How can tomorrow be different from today?" The format uses a set of exploratory questions to draw out stories and visual scenes and help participants Identify a desired future and vision. The results from the workshops will be combined and summarized for the City. • Community Conversations (volunteer or co- volunteer led): These discussion sessions allow Santa Ana residents to discuss among themselves their vision and aspirations' For Santa Ana's arts and cultural future in their own venues, as opposed to a more formal City - sponsored Input session. Community volunteers are recruited and trained to conduct a series of conversations in familiar, comfortable community settings— schools, churches, community centers, neighborhood associations, libraries, their own living rooms, restaurants, bars, and local "gathering spots." Discussions are customized to the neighborhoods and topics of interest, Volunteers are given comprehensive materials including an introduction, discussion questions and a reporting format. • MindMixer: MindMixer is an interactive website for community engagement. It allows easy, public access to project information and multiple ways to provide ideas and opinions — visually and textually. The team will use the tool for instant polls and surveys, and for testing ideas and concepts, We encourage people to tell their stories about their community and their interaction with arts and culture through their photos and videos. Additionally, MindMixer acts as a tracking tool to measure participation. Social Media: Related to the MindMixer platform is a social media program of Twitter, Facebook, Instagram, Pinterest and other channels to incite conversation, promote awareness, publicize information and events, and generally engage the portion of the public that most relates to social media. This can also conceivably be a part of the City's new communitywide arts calendar. Cafe -Style Town Halls: At the start of the project, a series of Town Halls using cafe -style discussion groups are conducted in areas accessible to different parts of the City. These opportunities are advertised to the whole community for participation. They provide a diverse group of people with opportunities to easily share information and insights into the arts and cultural planning process for the City. A number of topics are prepared and documented based Tne CUItural Planning GFOUP 25B -15 on the number of tables in each meeting. People are invited to talk in small, Intimate groups at the tables about topics of interest and then are asked to rotate to another table with a different set of questions around another topic. At the end of the session a plenary session is conducted to allow the whole group to share and connect with the topics and ideas generated. These meetings help to set up the planning process and allow a cross - pollination of ideas across a large group of people. It is a powerful technique for creating shared knowledge of Santa Ana's current arts and cultural landscape and future aspirations while it provides us with exploration of new issues for the planning process. Community Vision Forums: It may be valuable to "package" a series of community engagement activities Into a weeklong forum that brings public attention to the planning process and, more importantly, to the planning issues. In other communities, this approach has started with a mayoral kick -off event, and extended over a time period from one to several weeks, Public activities can Include many proposed here, such as volunteer -led Community Conversations, a Town Hall, consultant -led discussion groups, artist -led Artslmagine workshops, and an active MlndMixer and social media effort. Interviews and Discussion Groups: The consultant team will conduct a comprehensive series of interviews and focus group meetings, including City officials, civic leaders, artists, cultural organization leaders, and other stakeholders. These direct engagements allow for an in -depth exploration of the challenges and opportunities for the Arts and Cultural Master Plan. SurveyslQuestionnalres: We will conduct a Resident Survey investigating arts and cultural participation, and aspirations for the arts end cultural development of the City of Santa Ana. We will work with City staff and the Project Steering Committee to determine the best community survey methodology — web - based, telephone /cell- phone, or intercepts. We will conduct a Survey of Arts Organizations and other Cultural Providers in Santa Ana. Phase I: Project Initiation, Stakeholder & Community Engagement Project Initiation Project Initiation focuses on the review of relevant background information, development of a detailed work plan, and an initial meeting with the client to clarify a mutual understanding of the project. Phase Two would last approximately three to four months and include three site visits. Project Preparation, including a $coping meeting with the client, to develop a Detailed Project Work Plan and Timeline, and identify potential barriers to a successful plan. The Cultural Planning Grol;p 25B -16 Formation of a Project Steering Committee Composed of planning stakeholders, which will provide input and advise to the consultant team throughout the planning process. A thorough Document Review, examining relevant City and County organizational plans and studies. Develop Research Protocols for planning effort, identifying key research outcomes and methodologies. Identiflcatlon of a Key Person Interview and Organization list, building on our existing knowledge and relationships in Santa Ana. Development of a project Communications Plan, to keep all planning participants informed throughout the planning process and to provide an avenue for input to the consultants. Research Inventory of Santa Ana's Arts and Cultural Assets: We will prepare an inventory of nonprofit arts organizations, venues and major programs as a basis for assessment of the community's arts ecosystem. We will utilize a combination of available data and information collected through the community engagement /research process, Analysis of Arts Community Data: We can "mine" information collected by the City on its arts grantees, and through studies such as Arts and Economic Prosperityty, to develop a portrait of the arts ecosystem. National Assessment: We will identify a cohort of relevant cities andlor programs for a study comparing agreed -on criteria. This benchmarking study can focus on levels and types of arts funding, model approaches to programs of interest to Santa Ana, national trends, best practices, approaches to cultural equity, community arts, and other factors. In addition, we can profile model organizations or Initiatives of special interest. Local Assessment, including compilation of demographic and arts date, articulation of the history of arts in Santa Ana, review of Arts and Culture Commission programming, staffing and support systems. Assessment of Funding Resources, including both public and private funding sources. • Additional Comparisons of Santa Ana with National and Other Benchmarks: Using available datasets, such as the Local Arts Index and other national studies, we can Identify salient points of comparison for Santa Ana. It will be important to use comparisons to Identify what makes Santa Ana special, as well as where its gaps or weaknesses lie. Ultimately, comparisons can be a powerful advocacy tool for adoption of the plan, The GUltUral Planning Group 25B -17 to Dellverables: • Detalled work plan and schedule. • Final report documentation from document review. • Orientation for Steering Committee. • Communications plan. • Inventory of local cultural assets, facilities and programs Benchmark study of comparable cities Community Engagement Initial Meeting with Steering Committee, to clarify understanding of planning issues and project goals. This framework of issues and goals will be tested and modified throuph the phases and the community research process. Tour of Santa Ana, to update our understanding of Santa Ana's arts and cultural resources, developments and neighborhoods, and its adjacent cultural corridors. Ongoing coordination of periodic meetings of the Steering Committee, including providing summary written and oral reports on various aspects of the plan as it develops. The consultant will work with the Committee to develop a Vision and Mission Statement for the development of the plan. Key Person Interviews conducted by the consultants with cultural and city stakeholders, public officials, funders, media representatives, etc., to explore and develop key issues. Focus Group Meetings conducted to allow for In -depth exploration of selected Issues. Likely stakeholder groups include downtown businesses, tourism industry leaders, artists, arts patrons, and cultural leaders. Community Conversations, with the general public, working in tandem with ACTA to ensure a deep reach into communities. Online Community Opinion Survey, to identify their participation in arts and cultural activities, and determine their cultural needs and preferences, This survey is an excellent tool for reaching beyond the usual arts stakeholders and learning critical information about the city's cultural interests and vision. Deliverables: • Periodic meetings of the Steering Committee. • Community Engagement reporting and data • Online resident survey design and administration with a summary report. • Final report documentation from interviews and focus group meetings. The CiUItUral Planning Group 25B -18 11 Phase Two: Santa Ana Arts and Culture Plan Development Phase Two would last approximately three months and Include two site visits. Identify Preliminary Strategies and Recommendations, for review and discussion by the client group and the Steering Committee. • Develop a Draft Santa Ana Arts and Culture Master Plan with strategies and recommendations based on the totality of the community engagement and research. To assure clarity and better implementation, each recommendation will identify a lead agency, partner agencies, costs and resources needed, potential funding sources, a starting year, initial steps and other detail. Internal vetting of the draft plan by City staff and the Arts and Culture Commission. Presentation, review and vatting by the Steering Committee, Follow-up Interviews and Meetings as required to fully vet the draft plan with key decision• makers and stakeholders. - • Convene a (Second) Town Hall Meeting to present the draft plan and gather resident and stakeholder input Presentation of the draft plan to the City Council, preferably in a work or study session, allowing Imdepth discussion of the plan recommendations and strategies. Deliverables: • Preliminary Strategies and Recommendations • Draft Santa Ana Arts and Culture Master Plan • Second community town hall meeting • Partnering and funding strategies and plan • Follow -up interviews and meetings Phase Three; Santa Ana Arts and Culture Master Plan Presentation and Approvals Phase three would last approximately three months and include 1 —2 site visits. Develop a Final Plan document, which fully develops arts and cultural strategies for Santa Ana, Identifying funding, programming and collaborative opportunities, roles and responsibilities, partnerships and alignment with City goals and Initiatives, The final plan will incorporate the results of the vatting of the draft plan, Draft recommendations that do not have a viable lead agency or are otherwise deemed infeasible will be modified or removed from the final plan. This avoids "setting up the community for failure" and better assures support for adoption. The plan The Cultural Plannirg Group 25B -19 12 will include an implementation chapter, budget pro4ormas, and other components as needed to assure successful review, adoption and transition to implementation. In addition, the plan will Include a description and record of the planning process, background documentation from plans and studies, and other archival Information considered useful to future use of the plan. The final format of the plan can include a printed executive summary, an electronic /online version, and a full document (with appendices) as the complete record of the plan. Conduct a Workshop for Implementation Partners to refine and confirm roles, and help create the conditions for successful implementation. This recognizes that the City will be just one of the partners to Implement portions of the plan. The purpose of this workshop is to confirm their commitment to participate in the implementation of the plan, • Presentations of the Plan to Approving Agencies, including the Arts and Culture Commission, Steering Committee, City and other implementing agencies or organizations. Deliverables: • Final Santa Ana Arts and Culture Master Plan, including detailed implementation plan • Implementation partners' workshop • Presentations to Steering Committee, City staff and City Council The Cultural Planning Group 25B -20 '13 Detailed Task List and Cost Proposal This table presents a detailed listing of project tasks and time allocations, in the approximate sequence of activities. Please note that this is based on our current understanding of the project, and this table will form the basis of a detailed work plan to be developed in consultation with the client during initiation of the project. The ACTA. column lists activities, rather than hours, because the ACTA team includes three members billing at different rates. Once the project scope is clarified, ACTA's activities will be specified, within an overall negotiated fee. Phase One: Project Initiation, Community Engagement Finalize contract, project schedule and methodology Documents, plans, literature review, with summary report: City general and area specific plans City departmental plans (Parks, Transportation, etc) City economic development strategy Strategic Plan Visitor and tourism programs Plans developed by partner agencies Documents related to key project stakeholders Assist in identifying Steering Committee members Development of Outreach Strategy Master list of project stakeholders (with client) Develop standard formats for public documents Develop interactive project website (MindMixer) Development of public participation plan, Including: Public forums or town hall meetings On -line surveys of residents & key stakeholders Focus groups Key person interviews Youth involvement Community conversations Prepare Steering Committee orientation Develop project communications plan Site Visit 1 (9 days on site) Meet with City project staff Tour City/identify & map and resources /facilities Interviews with key City leadership Initial meeting of Steering Committee Orientation to planning process Critical issues and opportunities hours 20 24 25B -21 hours hours 24 12 24 X 14 Identification of key project stakeholders Initial key person interviews Identify benchmark cities for comparative study Interim Activities Develop protocol for on -line resident survey Develop on -line survey of artists & cultural orgs Gather lists for resident, artist and org.. surveys Develop protocol for best practices study Develop format for benchmark cities study Inventory/evaluate existing arts programs, facilities Presentation for town hall meeting Develop MindMixer site Local Assessment, with summary report Cultural asset inventory and mapping Data collection, including: demographics, artist data, support systems History of the arts in Santa Ana Review of Arts & Culture Commission Programs Staffing Support Resource assessment, including: funding & other support systems Site Visit 2 (3 days on site) Meetings with client staff Key person interviews Develop plan for "Festival of Ideas" Training for community conversation volunteers Meeting with Steering Committee Project update Visioning Exercise Discuss unique aspects Santa Ana Review online survey protocols Identification gaps in the cultural ecology Discussion of issues and opportunities Interim Activities Distribute /monitor on -line surveys National assessment, with summary report Trends Conduct benchmark cities study Conduct best practices research Relevant master plan Allen Saunders Flynn ACTA hours hours hours activity 20 45 4 4 4 4 12 4 2 2 8 4 4 8 42 12 8 2 12 8 4 X 8 4 X 24 16 24 4 24 40 16 20 25B -22 IE Successes and Failures -- -- Preliminary Analysis of on -line survey responses Monitor MindMixer site Site Visit 3 (5 days on site .2 consultants /3 days on site -1 consultant) Meetings with client staff Kick -off town hall meeting Key person interviews Focus group meetings Community conversations Meeting with Steering Committee Project update Review online survey analysis /report Discussion of findings to date SWOT analysis of Local cultural issues /assets Interim Activities Identify cultural arts impact . on local economy* Develop program structure and support systems Analyze City budget and funding potential Analyze non -City funding potential Other governmental sources Foundation support potential Corporate funding potential Individual philanthropy Sponsorships and other earned income potential Data Analysis, including Assemble raw data set - analyze key findings Report on benchmark study and best practices Report on survey and MindMixer results Summary report on research methodology Prepare summary report on SWOT analysis Develop computerized methods for data mining Develop preliminary strategies & recommendations Phase Two: Plan Development Site Visit 4: (3 days on site) Meet with client staff Second town hall meeting: preliminary strategies Follow -up key person interviews Follow -up focus discussion group meetings Meeting with Steering Committee Project update Preliminary strategies & recommendations Presentation of survey reports I-1 T -I, Allen 4 32 sunders Flynn AC' hours hours acth 4 4 4 6 8 8 8 F32 24 X 34 24 34 4 4 4 8 8 6 12 24 25B -23 12 4 6 4 8 8 4 24 24 16 i rnases /lasKs Allen Saunders Flynn ACTA i hours ` hours hours activity Presentation of benchmark and best practices -- _ .__ ___ _ .._._.T Discuss of potential arts development partners Interim Activities 28 16 12 Analyze feedback on strategies & 4 4 4 recommendations Align plan goals with general & other City plans 4 Write and distribute draft arts and cultural plan 24 8 8 Site Visit 5: (3 days on site) 24 Meet with client staff Meeting with Steering Committee Project update Discussion of draft report Discussion of advocacy strategy Follow -up interviews Presentation of Draft Plan to Arts Commission City Council Workshop on draft plan Meetings with implementing partners Interim Activities 22 12 10 Analyze feedback from draft plan 4 4 Writeidistribute final plan 16 8 8 Phase Three: Final Plan Review and Approvals 16 Site Visit 6: (2 days an site) 16 Meeting with Steering Committee Approval of final arts and cultural plan Implementation strategies and timetable Presentation of final plan to partner agencies Presentation of final plan City Council 6 months phone consultations after approval of plans Total hours: 272 221 272 Hourly rate $150 $125 $150 Flat rate Consultant fees; 40,800 27,625 40,800 25,000 Budget Consultant Fees $134,225 Estimated Travel Expenses $22,920 Airfare 5 trips (SJC to LAX) @ 350 1,750 4 trips (FILL to LAX) @ 550 2,200 17 25B -24 Hotels - 53 nights @ $180 Per diem - 53 days @ $70 Car rental /ground transport 30 days @ $75 Parking /airport -50 days @ $15 Travel Budget for ACTA *AFTA - Arts and Prosperity Study Overhead - legal, accounting, Insurance, etc (10% of consulting fees) Grand Total: hours hours 9,540 3,710 2,250 750 2,000 $5,000 $13,423 $175,588 Consultant Requests of the City of Santa Ana We look forward to the prospect of working with the City of Santa Ana staff and Arts and Culture Commission. To best fulfill the project objectives, we request the following assistance from the City during the project: Assembling and transmitting to the consultants, all documents, plans, policies, studies, data and other literature relevant to the planning process. Attendance at relevant meetings, . including meetings of the Steering Committee; also at selected stakeholder and community meetings where the presence of City staff would not deter candid input and discussion . of planning Ideas, Development of engagement lists, such as potential steering committee members, interviewees, stakeholder discussion group participants, etc., in consultation with the consultants. Scheduling of interviews, focus groups, meetings and other planning activities and announcement/publicty for any public meetings. • Logistics . for all meetings and other planning activities • Implementation of the communications plan, including potential development of an online project portal with content to be developed by both the consultants and the client. Distribution of the community online survey, through electronic lists, newsletters, . print, and other publicity, in cooperation with CPG's Research Director Assistance with GIS mapping, utilizing the City's mapping capabilities Duplication and printing of the draft and final plan documents. Timely response to consultant inquiries, requests, draft documents and other planning materials. M 25B -25 Personnel and Experience Our proposal Includes a six- member consulting team of two CPG personnel for this project, plus four sub - consultants. The table below identifies the people, roles, and relationships for our team. A description of The Cultural Planning Group's qualifications, consultant bios, and other distinguishing team characteristics are provided on the following pages. Santa Ana Arts and Culture Master Plan Proposed Consulting Team Organizational Chart Firm The Cultural Planning Croup Jerry Allen, Partner Linda Flynn, Research Director The Cultural Planning Group 444 Hoover Road Soquel; CA 05073 leoylo�_cuitura_Ipfnnn ng c h 831 -465 -1953 (office) 415 -271 -0102 (mobile) V.P.S. carrograpnre Victoria Plattner- Saunders, Chief Strategist 4769 Kensington Drive San Diego, CA 92116 vic oria0vpscartogiraphic.corn 619- 540 -2925 (office/mobile) Responsible for development of overall plan, community engagement, analysis and integration of findings, and preparation of planning documents. Responsible for contextual research (local and national assessments); assist with community engagement, analysis of findings, and preparation of planning documents. Alliance for California Community outreach, local Traditional Arts (ACTA) advisor, team analysis of plan Issues and strategies Amy Kitchener, Executive Director Quetzal Flores, Program Manager Citlalli Chavez, Project Coordinator Co- located at Community Partners 1000 N. Alameda Street Suite 240 Los Angeles, CA 90012 i 25B -26 CPG has extensive national experience in cultural planning. Jerry Allen brings experience in cultural planning, research, community process, team leadership and writing. Jerry Allen brings deep experience in management of local arts agencies and public art. Linda Flynn has extensive research experience with nonprofit and corporate clients, and has developed new approaches to community engagement in arts projects. Plattner- Saunders brings skills as a strategic planner, financial analyst and experience as former local arts agency staff person. She also brings training and experience with the role of art in communities, arts education, and the development of young professional leadership efforts. ACTA Is recognized for its work to connect artists and communities in the area of traditional arts, and culturally competent leadership. They have specific experience and knowledge of the Santa Ana community. 19 The Cultural planning Group Overview The Cultural Planning Group Is a consulting firm serving the field of arts and culture. We are based in California,. Philadelphia and Hawaii. The field of arts and culture faces unprecedented challenges that Include rapid and unpredictable change. Our focus Is to help our clients address change and develop appropriate solutions. Planning Cultural and Creative Economy Planning Cultural Facilities Planning Creative Placemaking Strategic Planning Public Art Planning and Project Management Leadership and Organizational Transition Assessment and Capacity Building CPG Partners (L to R) Karen Masad, Mark Anderson, Martin Cohen, David PlettnervSaundars and Jerry Allen Philanthropic Effectiveness Program Assessment and Design Innovating Projects Reflecting Change in the Field wv_,ta culturalpllanning.corn CPGs principals have prepared more than 60 cultural plans for communities throughout the nation, more than any other US firm. These include a great range of communities— urban, suburban and rural —in diverse regions. They also include an array of cultural visions, needs, goals and constraints that give us a breadth of experience. A sample list Includes: California Alameda County City of Culver City City of Livermore a City of Los Angeles City of Menlo Park )CCity of Pasadena City of Pleasanton City of Riverside City of Roseville amity of San Diego City of San Jose City of Santa Clarita City of Santa Cruz City of Santa Monica City of Stockton City of Thousand Oaks City of Torrance City of Tracy Contra Costa County Sonoma County City of Ventura City of Whittier, CA East City of Boston, MA (current) District of Columbia (current) Florida Keys Council on the Arts Montgomery County, MD Montgomery County, PA Town of Hilton Head Island, SC West City of Chandler, AZ e City of Boulder, CO City and County of Denver, 00 City of Reno, NV City of Scottsdale, AZ County of Los Alamos, NM 25B -27 Sort Lake County, UT Midwest City of Kansas City, MO City of Milwaukee, WI City of Minneapolis, MN Ohio State Arts Council South Broward County, FL City of Charlotte & Mecklenburg County, NC City of Roswell, GA Texas City of Dallas City of Houston ,. City of San Antonio (current) City of The Colony 20 Our Clients Selected List Government Agenofes Broward County, Florida California Arts Council City and County of Denver City of Charlotte, North Carolina City of Dallas City of Los Angeles Cultural Affairs Division City of Minneapolis, Minnesota City of Pasadena, California City of Philadelphia. Office of Arts, Culture and the Creative Economy City of Reno, Nevada City of Riverside, California City of San Antonio, Texas City of San Diego, California City of San Joao, California City of Santa Monies, California City of Thousand Oaks, California City of Tracy, California City of Upland, California City of Ventura, California County of Maui Office of Economic Developmentilao Theatre Restoration Initiatives Task Force, Hawaii Los Alamos County, New Mexico Los Angeles County Arts Commission +National Fndowmernt for the Arts, Washington, DC New Jersey State Council on the Arts Ohio Arts Council Salt Lake County, Center for the Arts Salt Lake County, ZAP (Zoo, Arts & Parks) Program San Francisco Redevelopment Agency Foundations California Community Foundation, Los Angeles Hawal'i Community Foundation, Honolulu Pew Center for Arts & Heritage, Philadelphia Cultural Management Initiative The Community Foundation Serving Riverside and San Bernardino Counties, California The Emily Hall Tremaine Foundation, Connecticut The Jaynes Irvine Foundation, San Francisco The San Diego Foundation Terasakl Foundation, Los Angeles The Montgomery County Foundation, Pennsylvania TqA Cdalral Planning Group Arts and Cultural OrgarrLmilons African American Museum of Philadelphia Amador County Arts Council, California American Revolution Center, Philadelphia Americans for the Arts, Washington, DC Art Sanctuary, Philadelphia Arts and Business Council of Greater Philadelphia Chamber Music Hawaii, Honolulu Dallas Arts District Management Association and Arts Foundation Dance /USA Philadelphia Ennis House Foundation (Frank Lloyd Wright), Los Angeles Exploratorium, San Francisco Fresno Arts Council, California Hawaii Arts Ensemble (Helen Hula Ka No'sau), Honolulu and Waimea Howell Capital Cultural District, Honolulu Historic Hawal'i Foundation, Honolulu Humboldt Arts Council, California IONA Contemporary Dance Theatre, Honolulu L.A. Stage Alliance LEONARDO/The International Society for the Arts, Sciences and Technology Music Center of Lou Angeles, Center Dance Association Painted Bride Arts Center, Philadelphia People's Light & Theatre Company, Malvern, Pennsylvania PennPrexis, School of Design, University of Pennsylvania The Philadelphia Singers Raioes Culturass Latino Americanas, Philadelphia Scottsdale Public Art, Arizona Side Street Projects, Pasadena, California Southwest Chamber Music, Pasadena, California Taller Puertorriqueno, Philadelphia Wyck Association, Germantown, Pennsylvania Yerba Buena Center for the Arta Yuba Sutter Regional Arts Council, Marysville, California Architecture/Urban Design Firms DOE Design Community Environment, Berkeley HR&A Advisors LMN Architects, Seattle 25B -28 21 ap Alliance for California Traditional Arts Overview �� The Alliance for California Traditional Arts promotes and supports ways for cultural traditions to thrive now and into the future by providing advocacy, F� resources, and connections for folk and traditional artists. From Ohlone IrIONP� basketry and African - American quilt- making to cowboy poetry and Vietnamese opera, California is home to hundreds of diverse traditions. ACTA connects artists, communities, and funders to each other, information, and resources through grants and contracts, convenings, research, and technical assistance. ACTA also provides advocacy through local and national field - building. Recognized for its culturally competent leadership, intellectual capital, and excellence in program administration, ACTA is the California Arts Council's official partner in serving the state's folk and traditional arts field. Dedicated to sustaining and fostering the growth of cultural traditions, ACTA ensures that its core values of respect, cultural pluralism, and cultural democracy permeate every aspect of its activity and programming. ACTA helps people connect to their past and keep traditions a central part of life today and tomorrow. By supporting folk and traditional artists, ACTA supports the health, cultural continuity, and diversity of California. ACTA was founded in 1997 by cultural workers, arts administrators, and traditional artists to address the void in statewide folk & traditional arts leadership. The organization Incorporated in 2001 and achieved 501(c)(3) status In December 2002. 25B -29 Consultant Bios The Cultural Planning Group art. Jerry Allen brings 35 years of experience in the local arts agency and cultural planning fields. Beginning as a studio artist, he did graduate studies at the University of Washington, concentrating on studio art and public administration. He was the Visual Arts Coordinator for the King County Arts Commission (Seattle) in the mid - seventles. King County had one of the earliest percent for art programs in the nation and the first county program ever established. In that capacity, he conceived and administered King County's acclaimed EARTHWORKS: Land Reclamation as Sculpture Symposium, widely regarded as one of the seminal projects in the history of contemporary public After serving three years as Executive Director of the King County Arts Commission, Jerry became the Director of Cultural Affairs for the City of Dallas, Texas. While there, he assisted with the formation of the Dallas Arts District and the Arts District Foundation. In that position, he developed the City's first cultural plan and policy and directed the first public art master plan ever completed by any city. Jerry went on to develop the Yerba Buena Arts Center in San Francisco, California, and recently retired as the Director of the Office of Cultural Affairs in San Jose, CA, where he was responsible for a general fund budget of $7 million and a public art budget of $18 million. Jerry's practice has included providing organizational development, strategic planning, meeting facilitation, and leadership development assistance to dozens of nonprofit cultural organizations. He has participated in the development of community cultural plans and public art master plans for more than 50 city, county and state agencies. r Linda Flynn directs community research for the firm and is integral to analysis of each client's project issues. She has exceptional and broad experience in arts and cultural research and community engagement, providing results for Informed community cultural planning. Prior to her work in the arts and culture industry, Linda worked with government agencies, nonprofit organizations, and 25B -30 23 private sector corporations in the areas of community process, research, project management, and strategic planning. Linda holds a doctorate from Nova Southeastern University in organizational and leadership development, and professional certifications in qualitative research and quantitative research. Linda is affiliated with the American Psychological Association (APA), the European Society for Opinion and Marketing Research (ESOMAR), and volunteers her time at various local nonprofit organizations focused on the Improvement of youth educational experiences In the State of Florida. Victoria Plettner- Saunders is the founder of and Chief Strategist at v.p.s. cartographie an arts research, strategy and planning firm based in San Diego. Plettner- Saunders has been an independent consultant to the nonprofit arts sector since 2004. With a Masters Degree in Arts Administration (emphasizing community arts and cultural services) from the University of Oregon and more than twenty years experience in the nonprofit arts sector, Plettner- Saunders' consulting practice assists arts organizations, philanthropic foundations, local arts agencies (LAA) and community initiatives with a range of services including planning, research, assessment, and professional development, Her skills as a strategic thinker and planner have helped individuals and organizations chart a course for new programs, services and professional goals, In addition to seven years holding various administrative positions with the City of San Diego Commission for Arts and Culture (San Diego's designated LAA and a municipally managed agency funded through the City's Transient Occupancy Tax) between 1998 and 2005, she has provided a. variety of consulting services to LAAs since then. Her first planning contract as a consultant was with the San Jos© Office of Cultural Affairs (SJOCA) for which she conducted an agency wide arts education program assessment that included recommendations for future action. Her experience as a staff person with the City of San Diego took various forms as she began as a Community Arts Coordinator, advanced to Arts Program Analyst. She assisted with the development of the National Endowment for the Arts funded Neighborhood Arts Training Institute, the California Arts Council funded San Diego Arts Education Partnership and the first Emerging Leaders of Arts and Culture leadership training for young professionals. In 2001 she was promoted becoming the agency's first Financial Analyst. At Its peak, she managed a $10 million operating and allocations budget. 25B -31 24 In 2010 she collaborated with the Arts Extension Service at the University of Massachusetts, Amherst and Americans for the Arts to develop strategic planning training workshop for local and state arts agencies. She co- presented the daylong pilot workshop to IAA's from throughout Connecticut in November 2011. An enthusiastic researcher with a curious mind and a skilled writer with a deep interest in arts leadership, Victoria has published several articles on next generation and mid- career arts leadership for CultureWork, an electronic publication of the University of Oregon Center for Community Arts and Cultural Policy, and NAMAC, as well as conducted statewide leadership research for The James Irvine Foundation. She was also recently published in the G1A Reader with a case study on the San Diego Youth Symphony and Conservatory's El Sistema- Inspired Community Opus Program. Piettner- Saunders chaired the Arts Education Council at Americans for the Arts (2011 -2013) and founded the first local arts education advocacy network in San Diego In partnership with the California Alliance for Arts Education. For a complete CV please go to: www. vpscartographle.com, Alliance for California Traditional Arts Amy Kitchener co- founded the Alliance for California Traditional Arts (ACTA) in 1997. Understanding California's unique position as the nation's epicenter for diverse cultural and multi - national communities, ACTA's work has focused on social change through grant making, capacity and leadership development, technical assistance, and bilingual program development. Trained as a public folklorist with an M. A. from UCLA, Amy is trained and highly experienced in ethnographic research methods. Amy has piloted participatory cultural asset mapping in neglected and rural areas of the state and consults with other organizations and across sectors on this method of discovery and inclusion of community voices. In 2007, Amy served as a consultant and co- author with WolfBrown for the James Irvine Foundation's California Engagement in Inland California. Later in 2011 Amy was on the study team that coauthored the James Irvine Foundation report on the arts and cultural ecology of California. Recently, in 2013, Amy served as the Program Director for the Santa Ana Building Healthy Communities "Activating Cultural Treasures" project. She continues to serve as a consultant for many national organizations and has taken part in two U.S. -China Intangible Cultural Heritage exchanges. She has published on a variety subjects Involving California folklife, including immigrant arts training and transmission, and Asian American folk arts. 25B -32 Im Quetzal Flores, Program Manager Quetzal Flores has extensive experience as a community organizer, cultural worker, and accomplished artist. As the son of labor union organizers, Flores Inherited an undying accountability to community struggles. From land straggles with South Central farmers, immigration reform, supermarket workers union strike, and the Indigenous Zapatista struggle, to the everyday community struggles In East Los Angeles, he has been active with music In hand. Since 1993, has been the musical director for the East Los Angeles -based rock group Quetzal, whose fifth album, Imaglnerles, was released by Smithsonian Folkways in 2012. As a program manager at ACTA, Flores has managed ACTA's "Activating Our Cultural Treasures" project in Santa Ana, Boyle Heights, and the Eastern Coachella in partnership with the Building Healthy Communities Initiative of the California Endowment. Furthermore, Quetzal has been working closely with cultural workers and organizers In Santa Ana to coordinate numerous transnatlonal and local traditional music efforts. Citlalll Ch6vez, Project Coordinator Cltlalll Chavez is a project coordinator for The Alliance for California Traditional Arts, working on ACTA's Activating Cultural Assets connected to the Building Healthy Community Places initiative in collaboration with the California Endowment. As a project coordinator, among other duties, she is helping document local cultural treasures, organizing local task force meetings, coordinating local cultural events, and is overseeing project efforts in two California regions. She joined ACTA as an experienced Immigrant rights activist and community and labor organizer. Through her community Involvement, Citlalli discovered El Centro Cultural de Mexico located in Santa Ana, California. She considers this discovery one of the most formative and transformational experiences in her young adult life. At El Centro, Citlaili met and was inspired by numerous cultural and social activists that demonstrated Importance of creative and cultural expression for community and social empowerment. Citlalli Is originally from Jalisco, Mexico, and migrated to the United States at the age of five In 1992. Citlalli received her academic training in Latin American Studies and Political Science at California State University Fullerton (B.A.) and at the University of California Los Angeles (M.A.). Tne Cul Ural Planning Croup 25B -33 26 Teams Experience The following projects Illustrate our team's successful experience In projects relevant to the Santa Ana Arts Plan. They include communitywide cultural master plans, cultural facility and district plans, feasibility studies, Impact studies, arts research, public art master plans, and assessments. Links to work samples are provided for most. All projects were completed during the agreed on schedules (none were delayed) and on budget. The Cultural Planning Group City of San Antonio, Texas 1) Cultural Collaborative (2005) 2) SA2020 Vision Survey (2013), and 3) Downtown Arts Facility Study (2014) Our first project for San Antonio was a comprehensive cultural plan, which is among the first of its type to focus on development of both the cultural community and the overall creative economy. The year -long planning process directly Involved more than 1,000 people and included three related studies, 1) an economic impact study, 2) a creative industries study, and 3) a bilingual, random household telephone survey. Building on the Ideas of economist Dr. Richard Florida, the plan encompasses economic development strategies for cultural and heritage tourism, arts - related businesses, the creative workforce, and cultural districts and facilities. It also encompasses more traditional cultural planning issues, such as access and participation, cultural equity, funding, public art and arts education. Since June 2005, San Antonio's Office of Cultural Affairs has implemented nearly the entire plan. This agency received major increases in Its City budget and secured additional implementation funding each year from the City, throughout the economic recession. In addition, new resources have been provided by a ballot initiative, a. new united arts fund, a new foundation providing fellowships for individual artists, and other Implementation partners. In the past year, CPG was re- engaged twice, to help realign the City's cultural efforts with its new communitywide vision plan, SA 2020, and to conduct a study for a downtown arts facility. Americans for the Arts Local Arts Index (2010 -2012) g httN 11www.artsndoxi{sfl 2rgllocal -arts index i e We assisted Americans for the Arts in the A Project of Americans for the Arts research, development and launch of the Local Arts Index (LAI). LAI Is an innovative approach to understanding the vitality and character of a local arts community through a set of 51 indicators that measure resources, activity, competitiveness and character. Maryland is included in this index and CPG has unique familiarity and insight into the use of this local data. LAI allows for comparisons among any of the 3,143 counties In the United States. 25B -34 27 City of San Jose, California Cultural Connection (2011), a Community Cultural Plan httpWwwwlsan nseccrlture .org /7pid= 90210 Cultural Connection is a comprehensive cultural plan based on a communitywide needs assessment for this "capital of Silicon Valley." This included review of, and recommendations for, the City's facilities portfolio and creative place- making opportunities throughout the community, Including informal venues in neighborhoods, parks and downtown. Two communitywide surveys. helped Inform facilities needs. The entire planning process was shaped by the city's fiscal circumstances, which reflected (at that time) seven years of deficits. The entire plan was Incorporated into the City's general plan update, Envision San Jose 2040. Los Alamos County, New Mexico Los Alamos Creative District Plan (2011) ht {p /Ilamnstreet,gorn /lacg_- Ijbrary (click on Creative District Plan) The Los Alamos Creative District plan presents a bold vision for, and envisions a dramatic transformation of, downtown. Los Alamos was the coordinating site of " the WWII Manhattan Project to develop the atomic bomb and remains the home of the Los Alamos National Laboratory, which Is a now a major International center for scientific and technical innovation. The present -day community of 18,000 is rural, yet has high levels of education, affluence and sophistication. The Creative District reflects the community's identity, combining science and technology, arts, history and the natural environment. The District produces creative programming, supports downtown revitalization, fosters Increased tourism, and serves as a focal point of community activity and events. The plan included a community assessment and review of previous studies, leading to recommendations for facilities, funding and governance. The San Diego Foundation 1. pARTioipate San Diego: A Strategic Plan for Arts and Culture: Increasing Cultural Patronage (2005- 06) htip ( rwww.r,d7cuntlnhon_,crrg,!f?yrfa s[b /NewsrJOrnlPfll /fttrport ArtsandCu(YUrsRvpoitpJY 2. pARTners in Education: A Strategic Plan for Arts Education (2007) 3. Ready Assets: a first -ever study of individual, working artists in San Diego County (2011) h_iIP. [iwwev sdfauncln,(ron orgtForkllsl0/f v`ewsrogntlPDrlReParfs;AR7e,ultu r�;urva}FMA1,08221Y lr�,df The first project is In essence a countywide cultural plan for a community foundation, as opposed to the arts agency of a local government. The Foundation sought to understand and document community needs in the area of arts and culture, and to formulate a strategic plan for itself and community partners. Project research included extensive stakeholder engagement, a countywide 25B -35 telephone survey conducted in English and Spanish, a countywide survey of arts and culture organizations, comparisons of San Diego County with other communities, and Investigation of effective strategies and programs in other communities. The resulting plan, entitled "pARTicipate San Diego," encompasses five strategies for Increasing and enhancing cultural participation throughout the countywide community. The Foundation adopted the entire strategic plan. As part of its implementation effort, the Foundation re- engaged CPG, In partnership with the California Alliance for Arts Education, to conduct a countywide research project in arts education. The purpose was to better understand the state of arts education In all 42 local school districts in the county and refine strategic approaches to reintroducing arts education to every classroom. In 2011, the Foundation commissioned CPG to prepare a first -ever study of individual, working artists in San Diego County. This study was the basis for the Foundation's new individual artists fellowship program. Droward County, Florida CreativeBROWARD 2020 (2010) hU /1www Growird,or ,Jne�oureer✓Pub h a % {��i.1CUlturalPlan2 Q!Page:vDe`ault.as x The goal of this plan was to Identify the local arts agency of the future. In response, Broward County's (Ft. Lauderdale) 10 -year cultural master plan envisions a transformation of one of the nation's largest and most successful local arts agencies. The plan includes specific elements for the creative economy, cultural tourism, and public art and design.. The extensive countywide planning process Involved more than 1,000 people, online participation, two community surveys, community engagement, and four advisory bodies. As a result of this plan, the Steering Committee has created an Arts & Business Council to raise funds and provide leadership in Implementation of the plan. City of San Diego Public Art Master Plan (2004) While we have done a great variety of, and more recent, public art master plans, the City of San Diego Public Art Master Plan is of particular interest for the Santa Ana project. Expanding from an existing program, this plan resulted in the adoption of a 2% for art policy for City capital Improvement projects and a 1 % for art requirement for private commercial and industrial development, with provision for an in -lieu contribution by the private developer to the City's Public Art Fund. It was probably the first higher - requirement ordinances in the US, and garnered the support of both City Council and the real estate developer community. i':e _. F *'i; { 25B -36 1'111,1hrart :Alaslvr flan Cities of Dallas, San Jose and San Francisco Cultural Facility and District Planning, Management and Development CPG Principal Jerry Allen has had planning and management responsibility for many cultural facilities. As Director of Cultural Affairs for Dallas, Texas, he planned and oversaw the construction and operation of the South Dallas Cultural Center and managed operations of the Bathhouse 25B -37 30 The Alliance for California Traditional Arias Activating Cultural Assets in Santa Ana In 2013 ACTA piloted the Activating Cultural Assets project In Santa Ana as part of The California Endowment's Building Healthy Communities ten -year initiative in Santa Ana. Cultural assets are defined as the people, groups, places, and events that carry cultural significance by the residents of Santa Ana. These artistic, expressions are powerful tools for community organizing in health and related areas. ACTA worked with the local organization, El Centro Cultural de Mexico (ECM) to develop questionnaires In which local residents Identified "cultural treasures." Following this process, ACTA helped coordinate a community celebration at the Cultural de Mexico in which local residents, artists, and local organizers were able to celebrate the local cultural treasures featuring personal testimonies, traditional Mexican food, and art and cultural presentations identified by the survey results. Further information, mapping, and Indexing of Santa Ana's Cultural Treasures can be accessed online at: Project - Related Links: http ;1.1 ,ly_oBgogYL ACTA Apprenticeship Program in Santa Ana The Alliance for California Traditional Arts (ACTA) Apprenticeship Program encourages the continuity of the state's traditional arts and cultures by contracting master artists to offer intensive, one -on -one training to qualified apprentices. Over the years, ACTA have awarded several apprenticeships in the Santa Ana region. Recently, ACTA contracted Son Jarocho master, Luis Sarmiento and Puerto Rican Bomba master, Hector Luis Rivera Ortiz. Both artists are using the apprenticeship program not only to train apprentices In their respective cultural traditions, but they are using the opportunity to engage the broader community in Santa Ana around these cultural practices. ACTA Living Cultures Program in Santa Ana The Living Cultures Grants Program seeks to sustain and strengthen the folk and traditional arts in the state of California with grants to California -based nonprofits, as well as other organizations that work with fiscal sponsors. In the past years, ACTA has awarded numerous Santa Ana -based organizations these grants. Santa Ana -based Organizations ACTA has supported Cultural de Mexico, Relampago del Clete and Vietnamese American Arts and Letters. Additional ACTA contracts involving cultural research and planning 2011, Ann Markusen Economic Research for the James Irvine Foundation's commissioned project: California's Arts and Cultural Ecology providing an array of research, writing and editing services including Input on project design, case study examples, Identifying under Included California cultural organizations for the survey and case studies and providing input on report drafts. hltp : /Iwww.cultura taorg /ovp- contentluploads /ea_arts, ecology 201lsept20pdf 2007, consulting services for WolfBrown on the James Irvine Foundation's commissioned report Cultural Engagement in California's Inland Regions. Services included input on study design, key informant interviews, training and supervision of door -to -door survey teams, review and comment on report drafts InUpW ww gi rrts, org / article/ cuulturaI- en0Jemont- calfornias- inland - regions 25B -38 31 Proposed Timeline and Deliverables Schedule Our proposed approach to this project includes three phases that can readily be completed In the one - year timeframe proposed In the RFP. Proposed Project Timeline and Deliverables Schedule Phase Services & Dellverables Dates Project start/contract signing April /May 2015 Phase I: Community Two site visits May- November 2015 Engagement and Research Interim research and planning Interim reports and presentations Phase 11: Santa Ana Arts and Two site visits December 2015 - Culture Master Plan Draft plan development and February 2016 Development vetting Revisions Phase III: Santa Ana Arts and Two site visits March - April 2016 Culture Master Plan Development of final. plan Presentation and Approvals documents Presentations and approvals 6!- 25B -39 Oil References The Cultural Planning Group For City of San Antonio Projects (2005 — 2013) Prime Contractor., The Cultural Planning Group Services Provided., Full sery ices related to the research and development for San Antonio City Arts and Cultural Plan. Felix Padron, Executive Director Department of Culture and Creative Development City of San Antonio 210 -207 -6967 Felix. Padran@sanantonio,cuov For Cultural Connection (2011) Prime Contractor: The Cultural Planning Group Services Provided: Full services related to the research and development for Son Jose City Arts and Cultural Plan Kerry Adams Hapner, Director Office of Economic Development/Office of Cultural Affairs City of San Jose 406- 793 -4333 kerry,adanis-hipnei,@sLiiijoseca.gov For KCMG Arts Convergence (2013) Prime Contractor: The Cultural Planning Group Services. Provided: Full services related to the research and development for Kansas City Arts and Cultural Plan Reference; Porter Arneill, Director Municipal Art Commission City of Kansas City, Missouri 816- 513 -2538 Porter _Arn etl l� kern o.prg For DC Commission on the Arts and Humanities Prime Contractor: The Cultural Planning Group Services Provided: Full services related to the research and development of the organization's strategic cultural plan. Use Richards Toney 202 - 724 -5613 lisa ricl,�ardstoriey«do gov 25B -40 33 Alliance For California Traditional Arts Virginia Mosqueda, Program Manager, The California Endowment, Santa Ana Building Healthy Communities, 1000 N. Alameda Street Los Angeles, CA 90012 (800) 449-4149 (213) 928-8800 Y-qLQqqPQd9LQqqIqndpwo , ,- , -.19 Ana Urzua, Campaign Coordinator Santa Ana Building Healthy Communities 25B-41 34 25B -42 CONSULTANT AGREEMENT THIS AGREEMENT is made and entered Into this 5t" day of May, 2015 by and between The Cultural Planning Group, a California Limited Liability Company, (hereinafter "Consultant"), and the City of Santa Ana, a charter city and municipal corporation organized and existing under the Constitution and laws of the State of California (hereinafter "'City'), RECITALS A. The City desires to retain a consultant having special skill and knowledge in the field of arts and culture master plans. B. Consultant represents that Consultant is able and willing to provide such services to the City. C. In undertaking the performance of this Agreement, Consultant represents that it is knowledgeable in its field and that any services performed by Consultant under this Agreement will be performed in compliance with such standards as may reasonably be expected from a professional consulting firm in the field. NOW THEREFORE, in consideration of the mutual and respective promises, and subject to the terms and conditions hereinafter set forth, the parties agree as follows; SCOPE OF SERVICES Consultant shall perform those services as set forth in Exhibit A to this Agreement. COMPENSATION a. City agrees to pay, and Consultant agrees to accept as total payment for its services, the rates and charges identified in Exhibit B. The total sum to be expended under this Agreement shall not exceed $175,668.00 during the term of this Agreement. b. Payment by City shall be made within forty -five (45) days following receipt of proper invoice evidencing work performed, subject to City accounting procedures. Payment need not be made for work which fails to meet the standards of performance set forth in the Recitals which may reasonably be expected by City. 3. TERM This Agreement shall commence on the data first written above and terminate on May 4, 2016, unless terminated earlier in accordance with Section 16, below. The term of this Agreement may be extended upon a writing executed by the City Manager and the City Attorney. 4. INDEPENDENT CONTRACTOR Consultant shall, during the entire term of this Agreement, be construed to be an independent contractor and not an employee of the City. This Agreement is not intended nor shall it be construed to create an employer - employee relationship, a joint venture relationship, or to allow the City to exercise discretion or control over the professional manner in which Consultant performs the services which are the subject matter of this Agreement; however, the services to be provided by Consultant shall be provided in a manner consistent with all applicable standards and regulations governing such services. Consultant shall pay all salaries and wages, employer's social security taxes, unemployment insurance and similar taxes relating to employees and shall be responsible for all applicable withholding taxes. fl*ib 5. OWNERSHIP OF MATERIALS This Agreement creates a non - exclusive and perpetual license for City to copy, use, modify, reuse, or sublicense any and all copyrights, designs, and other intellectual property embodied in plans, specifications, studies, drawings, estimates, and other documents or works of authorship fixed in any tangible medium of expression, including but not limited to, physical drawings or data magnetically or otherwise recorded on computer diskettes, which are prepared or caused to be prepared by Consultant under this Agreement ( "Documents & Data "). Consultant shall require all subcontractors to agree in writing that City is granted a non - exclusive and perpetual license for any Documents & Data the subcontractor prepares under this Agreement. Consultant represents and warrants that Consultant has the legal right to license any and all Documents & Data. Consultant makes no such representation and warranty in regard to Documents & Data which were provided to Consultant by the City. City shall not be limited in any way in its use of the Documents and Data at any time, provided that any such use not within the purposes intended by this Agreement shall be at City's sole risk. 6. INSURANCE Prior to undertaking performance of work under this Agreement, Consultant shall maintain and shall require its subcontractors, if any, to obtain and maintain insurance as described below: Commercial General Liability Insurance. Consultant shall maintain commercial general liability insurance naming the City, its officers, employees, agents, volunteers and representatives as additional insured(s) and shall include, but not be limited to protection against claims arising from bodily and personal injury, including death resulting therefrom and damage to property, resulting from any act or occurrence arising out of Consultant's operations in the performance of this Agreement, including, without limitation, acts involving vehicles. The amounts of insurance shall be not less than the following: single limit coverage applying to bodily and personal injury, including death resulting therefrom, and property damage, in the total amount of $1,000,000 per occurrence, with $2,000,000 in the aggregate. Consultant shall supply City with a fully executed additional insured endorsement in substantially the form attached hereto as Exhibit C upon execution of this Agreement. b. Business automobile liability insurance, or equivalent form, with a combined single limit of not less than $1,000,000 per occurrence, Such insurance shall include coverage for owned, hired and non -owned automobiles. C. Worker's Compensation Insurance. In accordance with the provisions of Section 3700 of the Labor Code, Consultant, if Consultant has any employees, is required to be insured against liability for worker's compensation or to undertake self- insurance. Prior to commencing the performance of the work under this Agreement, Consultant agrees to obtain and maintain any employer's liability insurance with limits not less than $1,000,000 per accident. d. If Consultant is or employs a licensed professional such as an architect or engineer: Professional liability (errors and omissions) insurance, with a combined single limit of not less than $1,000,000 per claim with $2,000,000 in the aggregate. e. The following requirements apply to the insurance to be provided by Consultant pursuant to this section: (i) Consultant shall maintain all insurance required above in full force and effect for the entire period covered by this Agreement. 2 25B -44 (ii) Certificates of insurance shall be furnished to the City upon execution of this Agreement and shall be approved by the City. (iii) Certificates and policies shall state that the policies shall not be canceled or reduced in coverage or changed in any other material aspect without thirty (30) days prior written notice to the City. If Consultant fails or refuses to produce or maintain the insurance required by this section or fails or refuses to furnish the City with required proof that insurance has been procured and is in force and paid for, the City shall have the right, at the City's election, to forthwith terminate this Agreement. Such termination shall not affect Consultant's right to be paid for its time and materials expended prior to notification of termination. Consultant waives the right to receive compensation and agrees to indemnify the City for any work performed prior to approval of insurance by the City. INDEMNIFICATION Consultant agrees to and shall indemnify and hold harmless the City, its officers, agents, employees, consultants, special counsel, and representatives from liability: (1) for personal injury, damages, just compensation, restitution, judicial or equitable relief arising out of claims for personal injury, including death, and claims for property damage, which may arise from the direct or indirect operations of the Consultant or its contractors, subcontractors, agents, employees, or other persons acting on their behalf which relates to the services described in section 1 of this Agreement; and (2) from any claim that personal injury, damages, just compensation, restitution, judicial or equitable relief is due by reason of the terms of or effects arising from this Agreement. This indemnity and hold harmless agreement applies to all claims for damages, just compensation, restitution, judicial or equitable relief suffered, or alleged to have been suffered, by reason of the events referred to in this Section or by reason of the terms of, or effects, arising from this Agreement. The Consultant further agrees to indemnify, hold harmless, and pay all costs for the defense of the City, including fees and costs for special counsel to be selected by the City, regarding any action by a third party challenging the validity of this Agreement, or asserting that personal injury, damages, just compensation, restitution, judicial or equitable relief due to personal or property rights arises by reason of the terms of, or effects arising from this Agreement. City may make all reasonable decisions with respect to its representation in any legal proceeding. Notwithstanding the foregoing, to the extent Consultant's Services are subject to Civil Code Section 2782.8, the above indemnity shall be limited, to the extent required by Civil Code Section 2782.8, to claims that arise out of, pertain to, or relate to the negligence, recklessness, or willful misconduct of the Consultant. 8. INTELLECTUAL PROPERTY INDEMNIFICATION Consultant shall defend and indemnify the City, its officers, agents, representatives, and employees against any and all liability, including costs, for infringement of any United States' letters patent, trademark, or copyright infringement, including costs, contained in the work product or documents provided by Consultant to the City pursuant to this Agreement. 9. RECORDS Consultant shall keep records and invoices in connection with the work to be performed under this Agreement. Consultant shall maintain complete and accurate records with respect to the casts incurred under this Agreement and any services, expenditures, and disbursements charged to the City for a minimum period of three (3) years, or for any longer period required by law, from the date of final payment to Consultant under this Agreement. All such records and invoices shall be clearly identifiable. Consultant shall allow a representative of the City to examine, audit, and make transcripts or copies of such records and any other documents created pursuant to this Agreement during regular business hours. Consultant shall allow inspection of all work, data, documents, proceedings, and activities related 256 -45 to this Agreement for a period of three (3) years from the date of final payment to Consultant under this Agreement. 10. CONFIDENTIALITY If Consultant receives from the City information which due to the nature of such information is reasonably understood to be confidential and /or proprietary, Consultant agrees that it shall not use or disclose such information except in the performance of this Agreement, and further agrees to exercise the same degree of care it uses to protect its own information of like importance, but in no event less than reasonable care. "Confidential Information" shall include all nonpublic information. Confidential information includes not only written information, but also information transferred orally, visually, electronically, or by other means. Confidential information disclosed to either party by any subsidiary and /or agent of the other party is covered by this Agreement. The foregoing obligations of non -use and nondisclosure shall not apply to any information that (a) has been disclosed in publicly available sources; (b) is, through no fault of the Consultant disclosed in a publicly available source; (c) is in rightful possession of the Consultant without an obligation of confidentiality; (d) is required to be disclosed by operation of law; or (e) is independently developed by the Consultant without reference to information disclosed by the City. 11. CONFLICT OF INTEREST CLAUSE Consultant covenants that it presently has no interests and shall not have interests, direct or indirect, which would conflict in any manner with performance of services specified under this Agreement. 12. NOTICE Any notice, tender, demand, delivery, or other communication pursuant to this Agreement shall be in writing and shall be deemed to be properly given if delivered In person or mailed by first class or certified mail, postage prepaid, or sent by fax or other telegraphic communication in the manner provided in this Section, to the following persons: To City: Clerk of the City Council City of Santa Ana 20 Civic Center Plaza P.O. Box 1988 Santa Ana, CA 92702 -1988 Fax 714- 647 -6956 With courtesy copies to: Executive Director — CDA City of Santa Ana 20 Civic Center Plaza (M -25) P.O. Box 1988 Santa Ana, California 92702 Fax 714- 647- and City Attorney City of Santa Ana 20 Civic Center Plaza P.O. Box 1988 Santa Ana, California 92702 Fax 714- 647 -6515 4 25B -46 To Consultant: David Plettner- Saunders The Cultural Planning Group 4769 Kensington Drive San Diego, CA 92116 A party may change its address by giving notice in writing to the other party. Thereafter, any communication shall be addressed and transmitted to the new address. If sent by mail, communication shall be effective or deemed to have been given three (3) days after it has been deposited in the United States mail, duly registered or certified, with postage prepaid, and addressed as set forth above. If sent by fax, communication shall be effective or deemed to have been given twenty -four (24) hours after the time set forth on the transmission report issued by the transmitting facsimile machine, addressed as set forth above. For purposes of calculating these time frames, weekends, federal, state, County or City holidays shall be excluded. 13. EXCLUSIVITY AND AMENDMENT This Agreement represents the complete and exclusive statement between the City and Consultant, and supersedes any and all other agreements, oral or written, between the parties. In the event of a conflict between the terms of this Agreement and any attachments hereto, the terms of this Agreement shall prevail. This Agreement may not be modified except by written instrument signed by the City and by an authorized representative of Consultant. The parties agree that any terms or conditions of any purchase order or other instrument that are inconsistent with, or in addition to, the terms and conditions hereof, shall not bind or obligate Consultant or the City. Each party to this Agreement acknowledges that no representations, inducements, promises or agreements, orally or otherwise, have been made by any party, or anyone acting on behalf of any party, which are not embodied herein. 14. ASSIGNMENT Inasmuch as this Agreement is intended to secure the specialized services of Consultant, Consultant may not assign, transfer, delegate, or subcontract any interest herein without the prior written consent of the City and any such assignment, transfer, delegation or subcontract without the City's prior written consent shall be considered null and void. Nothing in this Agreement shall be construed to limit the City's ability to have any of the services which are the subject to this Agreement performed by City personnel or by other consultants retained by City. 15. TERMINATION This Agreement may be terminated by the City upon thirty (30) days written notice of termination. In such event, Consultant shall be entitled to receive and the City shall pay Consultant compensation for all services performed by Consultant prior to receipt of such notice of termination, subject to the following conditions: As a condition of such payment, the Executive Director may require Consultant to deliver to the City all work product completed as of such date, and in such case such work product shall be the property of the City unless prohibited by law, and Consultant consents to the City's use thereof for such purposes as the City deems appropriate. Payment need not be made for work which fails to meet the standard of performance specified in the Recitals of this Agreement. 16. DISCRIMINATION Consultant shall not discriminate because of race, color, creed, religion, sex, marital status, sexual orientation, age, national origin, ancestry, or disability, as defined and prohibited by applicable 259 -47 law, in the recruitment, selection, training, utilization, promotion, termination or other employment related activities. Consultant affirms that it is an equal opportunity employer and shall comply with all applicable federal, state and local laws and regulations. 17. JURISDICTION - VENUE This Agreement has been executed and delivered in the State of California and the validity, interpretation, performance, and enforcement of any of the clauses of this Agreement shall be determined and governed by the laws of the State of California. Both parties further agree that Orange County, California, shall be the venue for any action or proceeding that may be brought or arise out of, in connection with or by reason of this Agreement. fi FJ�T:ii73��YC�I�T•f l! � C� �! Consultant shall, throughout the term of this Agreement, maintain all necessary licenses, permits, approvals, waivers, and exemptions necessary for the provision of the services hereunder and required by the laws and regulations of the United States, the State of California, the City of Santa Ana and all other governmental agencies. Consultant shall notify the City immediately and in writing of its inability to obtain or maintain such permits, licenses, approvals, waivers, and exemptions. Said inability shall be cause for termination of this Agreement. 19. MISCELLANEOUS PROVISIONS a. Each undersigned represents and warrants that its signature hereinbelow has the power, authority and right to bind their respective parties to each of the terms of this Agreement, and shall indemnify City fully, including reasonable costs and attorney's fees, for any injuries or damages to City in the event that such authority or power is not, in fact, held by the signatory or is withdrawn. All Exhibits referenced herein and attached hereto shall be incorporated as if fully set forth in the body of this Agreement. 6 25B -48 IN WITNESS WHEREOF, the parties hereto have executed this Agreement the date and year first above written. ATTEST: MARIA D. HUIZAR Clerk of the Council APPROVED AS TO FORM: City By: t Ryan Kelly Reenders Executive Director — CDA CITY OF SANTA ANA DAVID CAVAZOS City Manager THE CULTURAL PLANNING GROUP David Plettner- Saunders Partner Tax ID# 256 -49 EXHIBIT A SCOPE OF SERVICES 8 25B -50 processes that seek to fully incorporate the diversity that Is a hallmark characteristic of the city. This Includes multi- lingual, multi- ethnic and multi- generational community engagement activities as well as gathering input from the grassroots as well as the grass tops. In addition, Inviting and including artists' creativity as appropriate will help distinguish this plan and make it more authentic We provide effective project leadership, facilitation, communications, advice, benchmarking with other communities, best practices, new ideas, and assistance with vetting and adoption of the plan. The planning document must be an effective and energizing communications tool, including images, text, maps and drawings. It should include the findings of the assessment, visioning, and recommended strategies for equitable distribution of arts opportunities, public art, funding, leveraging the resources of the City, program delivery, facility development, and documentation of the planning process. The plan must also be consistent with the Santa Ana General Plan, Five -Year Strategic Plan, Community Engagement Plan, as well as other relevant plans, policies and studies. Approach Our Philosophy of Cultural Planning We believe that arts and culture are among a community's most powerful assets. They distinguish each community and allow residents to better understand and celebrate the uniqueness of their lives. As the "Smart Cities" movement illustrates, arts and culture are also a competitive tool, strengthening many elements of civic life, including the economy, workforce development, education; youth development, neighborhood development, redevelopment projects, sustainabflity, and cultural equity. An increasing body of research documents how thoughtful cultural policy is essential to civic health. Cultural planning is a primary tool for organizing the best use of this critical asset. As practitioners of the craft, The Cultural Planning Group fundamentally views cultural planning as holding up a mirror to the community. To accomplish this, we emphasize diverse community input, rigorous data collection, thoughtful tearn analysis of project issues, and substantial interaction with project leaders throughout the process. We do not do "cookie cutter" work. We listen well to cultural stakeholders, assess the needs of those not served by current programs, research questions that require new data, and develop solutions In consultation with project leaders. At the end of the process, the cultural assessment and planning report will reflect the community's diverse needs, aspirations, history and capacities. Rather than merely adopting methods used in other communities, we will help forge new solutions that fit Santa Ana. We have a mindset towards, and a track record of, innovative solutions that expand national best practices. 25B -51 in San Anton lo, we developed the first major city cultural plan to establish a direct linkage between cultural development and economic development by assessing the larger creative Industry. In Breward County (Florida), we recommended the transformation of the local arts agency into the lead agency for the creative economy, not only "the arts," and restructuring It as a quasi- governmental agency, with greater autonomy In fulfilling its mission. In Minneapolis, in responae to the gentrificatlon that was priclrg artlsts out of the city, we proposed a public- private partnership for the creation of a Cultural Trust that would purchase the development rights to properties already providing artist live -work spaces. In Santa Monica, In response to exorbitant real estate costs, we proposed "Arts Alleys" to take advantage of underutilized properties along the alleys in the downtown core. In San Diego, we worked with local developers to extend the percent for art requirement to new commercial and industrial development In the city. We believe in and practice an Inclusive planning process, with special attontlon to community engagement specific to each city. Working with the client, we Identify cultural stakeholders and other community groups and loaders who will add to the depth of input shaping the collective cultural vision. We utilize surveys, interviews, online tools, social media, structured community conversations, oharettes, artist -led workshops, community forums and other local opportunities to engage people. In Kansas City, a representative example, more than 9,000 people participated directly in the planning process. This Included 24 "community conversations," informal discussion groups held in diverse, grassroots settings throughout all neighborhoods of the oily. In Banta Monica, children's art workshops associated with community planning meetings provided artworks portraying their vision of art in the community. Virtually all of our plans have been Implemented, or are currently In process. This Is possible because each plan is derived from the community. We manage the planning process to generate community consensus, leadership and support for the plan. Our Approach to the Santa Ana Arts Plan Our approach Is a comprehensive assessment and community engagement process, designed to ellcit not only a portrait of the arts ecosystem and arts audience, but also the community's vision and aspiration for cultural development. We understand the community process must be open, inclusive, and bl- Iingual. The process will probe and articulate a shared vlslon to make the plan both specific and achievable. We have an excellent track record of creative and effective community engagement that yields Information, consensus and momentum for Implementation of the plan. Our proposed approach includes a menu of services and tools that can be customlzed, in oonsultatlon with the client, to form the most appropriate, Imaginative and useful scope of work. Most or all of the proposed services are possible within the general budget we anticipate for this project. We have provided a detailed description of our proposed scope of services for this project, including the specific deliverables. Toe Cultural Pfannll ig Group 25B -52 Process lmrm This full outline of our approach to the Santa Ana Arts and Culture Master Plan represents our best understanding of the needs of the project at this time. If selected, we will refine and customize the process to the specific needs for planning. The community engagement and research recommendations In particular are a menu of possibilities. We would select and adapt the most useful services to the project. We believe in and practice an inclusive planning process, with special attention to stakeholder and community engagement specific to each community. Working with the client, we identify cultural stakeholders and other community groups and leaders who will add to the depth of the data, which Informs the city's cultural vision and its resulting plan. We employ individual interviews, surveys, online tools, social media, workshops, community conversations, community forums and other local opportunities to engage people. This outlines a comprehensive, proposed approach to community engagement and related research for the City of Santa Ana Arts and Culture Master plan. If selected, we will work with Santa Ana to fully develop the most effective community engagement efforts for successful project outcomes. The intent of our community engagement efforts is to develop a "porous" system with many entry points through which anyone can participate in the process. Our approach Includes multiple entry points for all sectors of the community, from the grassroots to the leadership level. Community engagement initiatives include traditional face -to -face interviews and personal meetings; discussion groups; cafb conversations (large- group); family- oriented creative workshops with local artist participation; online participatory tools such as MindMixer, and on -line polls; and —for those without computer access or who don't feel comfortable providing Ideas or feedback online —the option to telephone or text ideas about their vision or to complete a traditional paper and pencil survey. Children's Artsimaglne w rhshop Key Person Interview and Focus Group lists: Working with staff, the Steering Committee and other informants, we will develop a master list of individuals and stakeholder groups to be consulted during the planning process. This may include local arts providers, City elected and appointed officials, community and business leaders, potential funding partners, civic associations, tourism associations, youth and sonior groups, education leaders, the faith community, as well as any other leadership that would be valuable to the planning process. 25B -53 Artalmaglne Workshops: These workshops allow residents with an alternative mode of participation In the planning process. Workshops are led by &rusts, In collaboration with the consultants, and can include adults as well me children. This is our approach to community participation based on the theory of "appreciative inquiry." Appreciative Inquiry is used to discover, understand and fostar Innovations In communities by gathering positive stories and Images and constructing positive interactions. We focus on exploring ways to conslder'what could be' and'what is possible' by focusing on positive experiences and future vision — helping us to answer questions such as, "What inspires you to be part of the Santa Ana arts and cultural community?' and "What arts environment would you most like to help bring alive In the next 10 years?" or "How can tomorrow be different from today?" The format uses a set of exploratory questions to draw out stories and visual scenes and help participants Identify a desired future and vision. Tile results from the workshops will be combined and summarized for the City. Community Conversations (volunteer or co- volunteer led): These discussion sessions allow Santa Aria residents to discuss among themselves their vision and aspirations for Santa Ana's arts and cultural future in their own venues, as opposed to a more formal City - sponsorad Input session. Community volunteers are recruited and trained to conduct a series of conversations in familiar, comfortable community settings•— schools, churches, community centers, neighborhood associations, libraries, their own living rooms, restaurants, bars, and local "gathering spots." Discussions are customized to the neighborhoods and topios of interest. Volunteers are given comprehensive materials Including an Introduction, discussion questions and a reporting format. MindMlxer: MindMlxer is an Interactive website for community engagement. It allows easy, public access to project information and multiple ways to provide ideas and opinions — visually and textually, The team will use the tool for Instant polls and surveys, and for testing ideas and ooneopts, We encourage people to tell their stories about their commonity and their interaction with arts and culture through their photos and videos, Additionally, MindMlxer acts as a tracking tool to measure participation. • Social Media: Related to the MindMixer platform is a social media program of Twitter, Facebook, Instogram, Plnterest and other channels to incite conversation, promote awareness, publicize Information and events, and generally engage the portion of the public that most relates to social medle. This can also oonoeivably be a part of the City's now oommunitywlde arts calendar. • Caf&Style Town Halls: At the start of the project, a series of Town Halls using cafe -style discussion groups are conducted In aross accessible to different parts of the City. Those opportunities are advertised to the whole community for participation. They provide a diverse group of people with opportunities to easily share Information and Insights into the arts and cultural planning process for the City, A number of topics are prepared and documented based The CIlIUT11 Flaming Group 25B -54 on the number of tables In each meeting. People are Invited to talk In small, Intimate groups at the tables about topics of Interest and then are asked to rotate to anothertable with a different set of questions around another topic. At the end of the session a plenary session Is conducted to allow the whale group to share and connect with the topics and Ideas generated. These meetings help to set up the planning process and allow a cross - pollination of Ideas across a large group of people. It is a powerful technique for creating shared knowledge of Santa Ana's current arts and cultural landscape end future aspirations while It provides us with exploration of now Issues for the planning process. Community Vision Forums. It may be valuable to "package" a series of community engagement activities Into a weeklong forum that brings public attention to the planning process and, more importantly, to the planning Issues. In other communities, this approach has started with a mayoral kick -off event, and extended over a time period from one to several weeks. Public activities can include many proposed here, such as volunteer -led Community Conversations, a Town Mall, consultant -led discussion groups, artist -led Artslmagine workshops, and an active MlndMixer and social media effort. Interviews and Discussion Groups: The consultant team will conduct a comprehensive series of Interviews and focus group meetings, Including City ofTciels, civic leaders, artists, cultural organization loaders, and other stakeholders. These direct engagements allow for an In-depth exploration of the challenges and opportunities for the Arts and Cultural Master Plan, SorveyslQuestionnaires; We will conduct a Resident Survey investgating arts and cultural participation, and aspirations for the arts and cultural development of the City of Santa Ana. We will work with City staff end the Project Steering committee to determine the best community survey methodology— web-based, telephono /ooll- phone, or Intercepts. We will conduct a Survey of Arts Organizations and other Cultural Providers In Santa Ana. Phase I: Projeot Irtltlatlon, Stakeholder &r Corrin)urilty Engagement Project Initiation Project Initiation focuses on the review of relevant background information, development of a detailsd work plan, end an Initial meeting with the client to clarify a mutual understanding of the project. Phase Two would last approximately three to four months and include three alto visits. Project Preparation, including a sapping meetinQ with the client, to develop a Detailed Project Work Plan and TImMIne, and Identify potential barriers to a successful plan. The Cultural Planning Group 25B -55 Formation of a Projeot Steering Committee composed of planning stakeholders, which will provide Input and advise to the consultant team throughout the planning process, A thorough Document Review, examining relevant City and County organizational plans and studies. Develop Research Protocols for planning effort, identifying key research outcomes and methodologles, Identification of a Key Person Interview and Organization list, building on our existing knowledge and relationships in Santa Ana, Development of a project Communications Plan, to keep all planning participants informed throughout the planning process and to provide an avenue far input to the consultants. Research Inventory of Santa Ana "a Arts and Cultural Assets: We will prepare on Inventory of nonprofit arts organizations, venues and major programs ors a bawls for assessment of the community's arts ecosystem, We will utilize a combination of available date and information collected through the community engagemont /rosaarch process. Analysis of Arts Community Data: We can "mine" information collected by the City on its arts grantees, and through studies such as Ante and Economic prosperity IV, to develop a portrait of the arts ecosystem. National Assossment: We will identify a cohort of relevant cities and /or programs for a study oomparing agreed -on criteria. This banohmarking study can focus on levels and types of arts funding, modal approaches to programs of interest to Santa Ana, national trends, best praotices, approaches to cultural equity, community arts, and other factors. In addition, we can profile model organizations or initiatives of special interest, Loral Assessment, including compilation of demographic and arts data, articulation of the history of arts in Santa Ana, review of Arts and Culture Commission programming, staffing and support systems. 0 Assessment of Funding Resources, Including both public and private funding sources. Additional Comparisons of Santa Ana with National and Other Benchmarks: Using available datasets, such as the Local Arts Index end other national studies, we can identify salient points of comparison for Santa Ana. It will be Important to use comparisons to Identify what makes Santa Ana spools[, as well as where Its gaps or weaknesses lie, Ultimately, comparisons can be a powerful advocacy tool for adoption of the plan. The Cultural Planning Croup 25B -56 10 Deliverables: Detailed work plan and schedule. • Flral report documentation from document review. Orientation for Steering Committee. • Communications plan. • Inventory of local cultural assets, facilities and programs • Benchmark study of comparable cities Community Engagement • initial Meeting with Steering Committee, to clarify understanding of planning Issues and project goals. This framework of Issues and goals will be tested and modified through the phases and the community research process. Tour of Santa Ana, to update our understanding of Santa Ana's arts and oultural resources, developments and neighborhoods, and Its adjacent cultural corridors. Ongoing coordination of periodic meetings of the Steering Committee, Including providing summary written and oral reports on various aspects of the plan as It develops. The consultant will work with the Committee to develop a Vision and Mission Statement for the development of the plan. Key Person Interviews conducted by the consultants with oultural and city stakeholders, public officials, funders, media representatives, etc., to explore and develop key Issues. Focus Group Meetings conducted to allow for In -depth exploration of selected issues. Likely stakeholder groups include downtown businesses, tourism Industry leaders, artists, arts patrons, and cultural leaders. Community Conversations, with the general public, working In tandem with ACTA to ensure o deep reach Into communities. Online Community Opinion Survey, to identify their participation in arts and oulturai activities, and determine their cultural needs and preferenoas. This survey is an excellent tool for reaching beyond the usual arts stakeholders and learning critical informatlon about the city's cultural Interests and vision. Deliverables: • Periodic meetings of the Steering Committee. • Community Engagomont reporting and data • Online resident survey design and administration with a summary report. • Final report doeunentatlon from intorviows and focus group meetings. The Cultural Planning Group 25B -57 '11 Phase Twm Santa Ana Arts and Culture Plan Development Phase Two would last approximately three months and include two site visits, Identify Preliminary Strategies and Recommendations, for review and discussion by the client group and the Steering Committee. Develop a Craft Santa Ana Arts and Culture Master Plan with strategies and recommendations based on the totality of the community engagement and research, To assure clarlty and better Imitlementatlon, each recommendation will identify a lead agency, partner agencies, costs and resources needed, potential funding sources, a starting year, initial steps and other detall, Internal vetting of the draft plan by City staff' and the Arts and Culture Commission. Presentation, review and vetting by the Steering Committee. Follow -up Interviews and Meetings as required to fully vetthe draft plan with key decision- makers and stakeholders, Convene a (Second) Town Hall Meeting to present the draft plan and gather resident and stakeholder Input. Presentation of the draft plan to the City Council, preferably In a work or study session, allowing In -depth discussion of the plan recommendations and strategies, Doliverables: • Preliminary Strategies and Recommendations • Draft Santa Ana Arts and Culture Master Plan Second community town hall meeting Partnering and funding strategies and plan M Follow -up interviews and meetings Phase Three: Santa Ana Avis and Culture Master Plan Presentation and Approvals Phase three would last approximately three months and include 1 — 2 site visits. Develop a Final Plan document, which fully develops arts and cultural strategies for Santa Ana, Identifying funding, programming and collaborative opportunities, roles end responsibilities, partnerships and alignment with City goals and Initiatives. The final plan will Incorporate the results of the vetting of the draft plan. Draft recommendations that do not have n viable lead agency or are otherwise deemed infeasible will be modified or removed from the final plan. This avoids "setting up the community for failure" and better assures support for adoption. The plan The Cultural Planning UrouP 25B -58 12 will Include an implementation chapter, budget pro- formas, and other components as needed to assure successful review, adoption and transition to Implementation. In addition, the plan will include a description and record of the planning process, background documentation from plane and studies, and other archival Information considered useful to future use of the plan. The final format of the plan can include a printed executive summary, an slootroniclonllne version, and a full document (with appendices) as the complete record of the plan. Conduct a Workshop for Implementation Partners to refine and confirm roles, and help create the conditions for successful Implementation. This recognizes that the City will be just one of the partners to implement portions of the plan. The purpose of this workshop is to confirm their commitment to participate In the implementation of the plan. Presentations of the Plan to Approving Agencies, including the Arts and Culture Commission, Steering Committee, City end other implementing agencies or organizations. Coliverables; Final Santa Ana Arts and Culture Master Plan, Including detailed Implementation plan Implementation partners' workshop Presentations to Steering Committee, City staff and City Council T n CulTural Planning Graup 25B -59 15 FEE SCHEDULE 9 25B -60 Detailed Task List and Cost Proposal This table presents a detailed listing of project tasks and time allocations, in the approximate sequence of activities. Please note that this is based on our current understanding of the project, and this table will form the basis of a detailed work plan to be developed in consultation with the client during initiation of the project. The ACTA column lists activities, rather than hours, because the ACTA team Includes three members billing at different rates. Once the project scope is clarified, ACTA °s activities will be specified, within an overall negotiated fee. Phase One., Project Initiation, Community Engagement Finalize contract, project schedule and methodology Documents, plans, literature review, with summary report: City general and area specific plans City departmental plans (Parks, Transportation, etc) City economic development strategy Strategic Plan Visitor and tourism programs Plans developed by partner agencies Documents related to key project stakeholders Assist in Identifying Steering Committee members Development of Outreach Strategy Master list of project stakeholders (with client) Develop standard formats for public documents Develop Interactive project wabsite (MIndMIxer) Development of public participation plan, Including: Public forums or town hall meetings On -line surveys of residents & key stakeholders Focus groups Key person interviews Youth involvement Community conversations Prepare Steering Committee orientation Develop project communications plan Site Visit 1 (3 days on site) Meet with City project staff Tour City /identify & map and resources /facilities Interviews with key City leadership Initial meeting of Steering Committee Orientation to planning process Critical issues and opportunities Allen Saunders Flynn ACTA hours hours hours activity 24 25B -61 24 12 24 PhasestTasks Vision and mission Identification of key project stakeholders Initial key person interviews Identify benchmark cities for comparative study Interim Activities Develop protocol for on -line resident survey Develop on -line survey of artists & cultural orgs Gather lists for resident, artist and org. surveys Develop protocol for best practices study Develop format for benchmark cities study Inventory/evaluate existing arts programs, facilities Presentation for town hall meeting Develop MindMixer site Local Assessment, with summary report Cultural asset inventory and mapping Data collection, including: demographics, artist data, support systems History of the arts in Santa Ana Review of Arts & Culture Commission Programs Staffing Support Resource assessment, including: funding & other support systems Site Visit 2 (3 days on site) Meetings with client staff Key person interviews Develop plan for "Festival of Ideas" Training for community conversation volunteers Meeting with Steering Committee Project update Visioning Exercise Discuss unique aspects Santa Ana Review online survey protocols Identification gaps in the cultural ecology Discussion of issues and opportunities Interim Activities Distribute /monitor on -line surveys National assessment, with summary report Trends Conduct benchmark cities study Conduct best practices research Relevant master plan Allen - -- Saunders Flynn ACTA hours hours hours activity 20 45 42 X 4 12 4 8 4 4 12 4 2 2 12 2 I 8 8 4 4 4 8 8 1 4 24 1 16 1 24 25B -62 4 24 40 16 20 051 W Preliminary Analysis of on -line survey responses Monitor MlndMixer site Site Visit 3 (5 days on site - 2 consultants 13 days on site - 7 consultant) Meetings with client staff Kick -off town hall meeting Key person interviews Focus group meetings Community conversations Meeting with Steering Committee Project update Review onllne survey analysis /roport Discussion of findings to date SWOT analysis of Loral cultural Issues /assets Interim Activities Identify cultural arts impact on local economy* Develop program structure and support systems Analyze City budget and funding potential Analyze non -City funding potential Other governmental sources Foundation support potential Corporate funding potential Individual philanthropy Sponsorships and other earned income potential Data Analysis, Including Assemble raw data set - analyze key findings Report on benchmark study and best practices Report on survey and MindMixer results Summary report on research methodology Prepare summary report on SWOT analysis Develop computerized methods for data mining Develop preliminary strategies & recommendations Phase Two: Plan Development Site Visit 4: (3 days on site) Meet with client staff Second town hall meeting: preliminary strategies Follow -up key person Interviews Follow -up focus discussion group meetings Meeting with Steering Committee Project update Preliminary strategies & recommendations Presentation of survey reports ........ Allen Saunders Flynn ACTA hours hours hours activity 4 4 16 4 8 32 24 32 34 1 24 34 7& 25B -63 12 4 6 4 6 8 12 8 4 24 24 24 7& 25B -63 Phasosrrasks Allen Saunders Flynn ACTA hours hours hours activity Presentation o f benchmark and best p r ac I I c a a Discuss of potential arts development partners Interim Activities 28 16 12 Analyze feedback on strategies & 4 4 4 recommendations Align plan goals with general & other City plans 4 Write and distribute draft arts and cultural plan 24 8 8 Site Visit 5: (3 days on site) 24 Meet with client staff Meeting with Steering Committee Project update Discussion of draft report Discussion of advocacy strategy Follow-up Interviews Presentation of Draft Plan to Arts Commission City Council Workshop on draft plan Meetings with implementing partners Interim Activities 22 12 10 Analyze feedbacl(from draft plan 4 4 WriteldiStribUte final plan 16 8 8 Phase Three: Final Plan Review and Approvals 16 Site Visit 6: (2 days on site) 16 Meeting with Steering Committee Approval of final arts and cultural plan Implementation strategies and timetable Presentation of final plan to partner agencies Presentation of final plan City Council 6 months phone consultations after approval of plans Total hours: 272 221 272 Hourly rate $150 $125 $150 Flat rate Consultant fees: 40,800 27,625 40,800 25,000 Budget Consultant Fees $134,225 Estimated Travel Expenses $22,920 Airfare 5 trips (SJC to LAX) @ 350 1,750 4 trips (FL.L to LAX) @ 550 2,200 1 , 25B-64 Hotels - 53 nights @ $180 Per diem - 53 days @ $70 Car rental /ground transport 30 days @ $75 Parking /airport -50 days @ $15 Travel Budget for ACTA *AFTA - Arts and Prosperity Study Overhead - legal, accounting, insurance, etc (10% of consulting fees) Grand Total: Allen Saunders hours hours 9,540 3,710 2,250 750 2,000 $5,000 $13,423 $175,558 Consultant: Requests of the City of Santa Arta _.._ ..- Flynn ACTA hours activity We look forward to the prospect of working with the City of Santa Ana staff and Arts and Culture Commission. To best fulfill the project objectives, we request the following assistance from the City during the project: Assembling and transmitting to the consultants, all documents, plans, policies, studies, data and other literature relevant to the planning process. Attendance at relevant meetings, including meetings of the Steering Committee; also at selected stakeholder and community meetings where the presence of City staff would not deter candid Input and discussion of planning Ideas. Development of engagement lists, such as potential steering committee members, interviewees, stakeholder discussion group participants, etc., In consultation with the consultants. Scheduling of interviews, focus groups, meetings and other planning activities and announcoment/publicity, for any public meetings. Logistics for all meetings and other planning activities Implementation of the communications plan, including potential development of an online project portal with content to be developed by both the consultants and the client. Distribution of the community online survey, through electronic lists, newsletters, print, and other publicity, in cooperation with CPG's Research Director Assistance with GIs mapping, utilizing the City's mapping capabilities Duplication and printing of the draft and final plan documents. Timely response to consultant inquiries, requests, draft documents and other planning materials. 25B -65 EXHIBIT C ADDITIONAL INSURED ENDORSEMENT FOR COMMERCIAL GENERAL LIABILITY POLICY Insurance Company This endorsement modifies such insurance as is afforded by the provisions of Policy # relating to the following: 1. The City of Santa Ana, 20 Civic Center Plaza, Santa Ana, California 92701; its officers, employees, agents, volunteers and representatives are named as additional insureds ( "additional insureds ") with regard to liability and defense of suits arising from the operations and uses performed by or on behalf of the named insured. 2. With respect to claims arising out of the operations and uses performed by or on behalf of the named insured, such insurance as is afforded by this policy is primary and is not additional to or contributing with any other insurance carried by or for the benefit of the additional insureds. 3. This insurance applies separately to each insured against whom claim is made or suit is brought except with respect to the company's limits of liability. The inclusion of any person or organization as an insured shall not affect any right which such person or organization would have as a claimant if not so included. 4. With respect to the additional insureds, this insurance shall not be cancelled, or materially reduced in coverage or limits except after thirty (30) days written notice has been given to the City of Santa Ana, 20 Civic Center Plaza, Santa Ana, California 92701. (Completion of the following, including countersignature, is required to make this endorsement effective.) Effective Policy # _ Issued to Countersigned by this endorsement form as a part of Named Insured Authorized Representative 10 25B -66