05-14-1992 Packet
THE
SALINA
ARTS
AND
HUMANITIES
COMMISSION
211 W Iron · Box 2181 · Salina, KS 67402-2181 · 913-826-7410
SALINA ARTS AND HUMANITIES COMMISSION
MEETING:
MAY 14, 1992
3:30 P.M.
TIME:
PLACE:
SMOKY HILL MUSEUM
AGENDA:
1. Minutes
2. 1993 Budget - Salina Arts & Humanities Commission and Smoky Hill
Museum (will be sent early next week)
3. - Salina Arts and Humanities Commission Retreat
a. Proposed facilitator (see enclosed)
b. Brainstorm expectations
4. Roles and Responsibilities (see enclosed)
5. Smoky Hill River Festival
a. Withrow Report (see enclosed)
b. t992 Updates
6. Joseph Holmes Residency Idea
'"
7. Smoky Valley Artist Series (see enclosed)
8. Other
a. KAC major grants - local arts agency and A.I.E.
b. Other
Please call 826-7410 if you are unable to attend.
Betsy Poer, Chair I Paula Wright, Vice-Chair I Nancy Hodges, Secretary-1teasurer
Sarabeth Geis, Randy Graham, Ann Rollins, Ned Rose, Clay Thompson, Joe Warner, Jane Weathers
Martha Rhea, Executive Director
MINUTES FOR SALINA ARTS AND HUMANITIES COMMISSION
APRIL 16, 1992
The monthly meeting of the Salina Arts and Humanities Commission was held in the
conference room of the Smoky Hill Museum on Thursday, April 16, 1992. In
attendance were Ned Rose, Jane Weathers, Betsy Poer, Joe Warner, Clay Thompson,
Ann Rollins and Randy Graham. Staff members present were Martha Rh1ea, Lana
Jordan, Connie Bonfy, Tom Pfannenstiel and Juli Pritchett. Also present was Carmen
Wilson, League of Women Voters.
MINUTES. Poer called the meeting to order and began with the first item on the
agenda. Rose moved that the minutes be accepted as presented, Weathers seconded
the motion. Motion carried.
SMOKY HILL RIVER FESTIVAL. Jordan offered brief background on the NAALA
conference that she and Rollins had attended in Hershey, Pennsylvania earlier in the
year. One hundred nationwide representatives attended the conference from a variety
of festival sizes and concerns. Jordan felt that the conference covered several areas
that would benefit our Festival, such as: 1) "big-dollar" fundraising--something that
must be approached in a highly professional manner with yearround contacts; 2) crisis
management--training volunteers in what steps to take, in accurately recording events,
and developing a certain awareness that might prove helpful if a suit wene filed; and 3)
networking--how our Festival stands in relation to other larger or similar events.
Graham delved into the proposition of approaching big dollar contributors, and how it
might be applied to Festival involvement. Jordan responded that one suggestion
made was in "selling" a stage for year-to-year performances, underwritten by specified
benefactors. Rose asked how the Smoky Hill River Festival compared with other
events and Jordan said that for this type of festival, the budget is considerable. Rollins
commented that other participants seemed to be amazed that a city the size of Salina
tackles a 3-day festival rather than a single-day event, and were definitely aware of
Salina, the SHRF and its success. Rollins went on to address the area of teens and
pre-teens as lacking sufficient activities, and reviewed numerous ideas that could build
interest among this age group. She urged that kids be involved for the Festival to
become or maintain its "family affair" status. The workshops attended stressed the
importance of securing help by way of sponsorship from national sources who could
supply materials for hands-on activities, provide staff or donate monetarily. Also
pointed out was the importance of letting the town as a whole feel they are getting
something in return for their investment by expanding beyond the park to include other
activities in unusual places (Le. exhibits, downtown parties in say, Masonic Temple,
etc.) that would spread the enthusiasm throughout Salina, instead of confining it to a
single area.
Jordan said that the middle school-aged children have already received attention for
the upcoming Festival through a photographic expedition geared for them, as well as a
hands-on activity involving PVC pipe to construct "giant tinkertoys." She reassured
Commissioners that the sand sculpture artists will be returning, and that the juroring
process for visual artists has been completed. Mention was made of the news
conference scheduled for Friday, April 17th to announce entertainment that has been
hired, as well as description of the new program which has been designed for easier
reading, and completely underwritten by private donation. Rhea said that the report
has just been received from Danielle Withrow and will be sent to the Commission by
next meeting. She went on to warn that rejections for participation in the Festival will
be in circulation shortly and to expect a certain amount of dissention, which should be
passed along for follow-up.
DIVERSITY COMMITTEE ACTIVITIES. Rollins gave a brief description of the
committee's creation and function to explore different ways the social services of
Salina might intersect with the arts. A meeting scheduled for April 24th at the Smoky
Hill Museum will provide opportunity for dialogue between the committee' and various
arts groups, and members of the Community Service Council. Printed matter and
discussion will also be offered to provide information regarding available programs
that may not be known to parts of the community. Also planned is the printing and
circulation of a booklet that are meant to make families aware of ways to prevent
abuse and neglect through, among other ideas, participation in art activities, both in
the home and out. Grant monies through the State of Kansas' Children and Vouth
Trust Fund are a possible source of funding for the project, and with the help of the
V.W.C.A. as fiscal agent, application has been made for $12,000, which would
produce 10,000 20-page booklets. These booklets would provide a viable activity
base for families to work with, as well as a variety of articles from informed sources
outside the home. Thompson interjected the possibility of including discussion of field
trip experiences, which Rollins will follow-up on.
WOLF REPORT RECOMMENDATIONS. Rhea noted the recommendation of the
evaluation team that the role of A&HC be more clearly defined as to its purpose, and
its involvement in City policy decisions that concern city funding of cultural activities.
At the current time, the SA&HC is an advisory group appointed by City
Commissioners, with the purpose of keeping them informed on cultural matters. Not
reflected in the current "job description" is the SA&HC's pro-active role as community
cultural planning, not just agency planning. Also not addressed is the SA&HC's
fiduciary responsibility through the Foundation. Rhea asked Warner to €ixplain how
citizens are appointed to boards, to which he responsed: Recommendations are
made from a pool of people who have filled out interest forms, City Commissioners
grant approval, and final selection is made by the Mayor. Discussion was given as to
whether it was appropriate for A&H Commissioners to approach potential individuals
for consideration, seeking to determine interest and to encourage application. Warner
said that this is not inappropriate. Question was also raised as to the importance of a
qualified Commissioner being chosen, given the present fiduciary responsibilities, and
discussion given as to how the standing Commission might take an active role in the
appointment process. Thompson recommended the Roundtable act as a nominating
committee. Rose questioned whether this type of action might perpetuate a "close
society" without allowing fresh ideas to come in from someone outside the usual
channels of cultural development. The general concensus was that the SA&HC is not
a suitable "training ground" for the inexperienced. Warner advised establishment of a
combination of the best of both avenues, making the City Commissioners and some
sort of nominating committee co-responsible.
The second question raised concerned involvement in City policy decision relating to
funding of cultural activities and that the SA&HC take their role seriously in
recommending action on matters under consideration that are less familiar to the City
Commissioners. The general feeling among the Commissioners was to agree that
involvement should be pursued to oversee continuity of cultural programs that
oftentimes overlap. Rhea asked what the first step might be toward this a.ction, and
Warner responded that a clearly defined recommendation should be dra1ted and
presented to the City Commissioners. Thompson also suggested the USE! of a survey
issued to other arts agencies that might help provide a model from which to build the
proposal. Rhea will investigate.
HORIZONS. A policy on Sudden Opportunity Grants as proposed at last meeting
was presented for vote. Presented for approval:
1) $1,500 should be set aside yearly
2) Source of funding--
A) Special project fund - $1,000
B) Emerging individual artist fund - $500
3) Carry over amount not spent, not to excede the stated levels
Commissioners would be made aware of candidates for consideration on a monthly
basis, and the application process would remain the same. Rose moved that the
proposal be accepted, and Weathers seconded the motion, which carried
unanimously.
Final reports of several grants were pointed out and Commissioners were urged to
review them privately.
MUSEUM. Pfannenstiel reported that the Museum has formulated the Ghanging
temporary exhibits for the next two years and that they include a wide diversity of
exhibits, as well as local components. Two new cases are expected to be completed
by the end of May.
OTHER. Bonfy responded to last meeting's question of the range of dispersement for
Life in the Past Lane by informing Commissioners of the upcoming mailing to Kansas
schools districts, state and national art agencies. She also mentioned that the
evaluators for Arts Infusion project have completed their work and will be sending a
written report by the first part of June. The Poetry Series was exclaimed a success.
Word has been received from Tom Wolf that the Arts Infusion has been necommended
to be part of Project Reach '93, focused on the education of young audiences.
Rhea gave an update on the development of the Freedom of Expression statement,
saying that a draft by Patricia Traxler should be completed by next meeting. She also
passed around articles of particular interest discussing arts education, and the
importance thereof, as well as the city manager's response to the issue ojf
abandonment currently under consideration. Awareness was urged.
With no further business, Rollins moved that the meeting be adjourned. Rose
seconded the motion. Motion carried.
..
THE
SALINA
ARTS
AND
HUMANITIES
COMMISSION
211 W Iron . Box 2181 · Salina, KS 67402-2181 · 913-826-7410
TO: SALINA ARTS AND HUMANITIES COMMISSIONERS
RE: COMMISSION RETREAT, JULY 10-11
DATE: MAY 7, 1992
Enclosed is a resume from Richard Linzer. After rather extensive
checking, he is my recommendation as facilitator for our retreat. He has
worked with a variety of cultural institutions. He also has experience
(and insight) in dealing with, as he says, the plan within the plan. In other
words, once the goals and objectives are in place, what are the leadership
roles and how are resources allocated. These issues certainly indicate
where the Commission is at with the cultural plan, as well as with their
role in the larger context.
His fee is approximately $1,500, plus expenses. Total cost willi run about
$2,250. This includes preparation, the retreat, and documentation.
Funding is available, either through undesignated funds in the Horizons
account or through sharing the cost across the three Foundation accounts
(SA&HC, Festival, Horizons).
Please come with questions or comments, so a decision can be made.
Betsy Poer, Chair / Paula Wright, Vice-Chair / Nancy Hodges, Secretary-Treasurer
Sarabeth Geis, Randy Graham, Ann Rollins, Ned Rose, Clay Thompson,joe Warner,jane Weathers
Martha Rhea, Executive Director
RICHARD
L I N Z E R
STRATEGIC
PLANNING
+
CONSULTING
I serve as a strategist and consultant for businesses, nonprofit
organizations and a Federal agency. My work involves problem
solving, planning, facilitation, and institutional analysis.
SELECTED CLIENTS
Nonprofit Organizations
Stanford University
San Francisco Foundation
Oakland Museum
California State University, Sacramento
Washington State Arts Commission
Saratoga Counseling Professionals
CoupevilleArts Center
Oregon Bach Festival
Dance Bay Area
Contemporary Craft Association, Portland
Santa Fe Chamber Music Festival
-New Mexico State Arts Division
Homowa Foundation for African Art and Culture
Seattle Buslness Volunteers for the Arts
Highline West Seattle Mental Health Center
Western States Arts Federation.
Marine Science Society of the Pacific Northwest
Seattl~ Choral Company
Western Alliance of Arts Administrators
Classical Music Supporters
Pomegranate Foundation
P 0 u 1 s b 0 tv1 a r i n e S c i e n c eC e n t e r
Washington Folklife Council
Suquamish Museum
and/or Gallery
Government Agencies
The National Endowment for the Arts:
Challenge Grant Program (1986-1989)
Advanc~ment GrantProgram-- Field Consultant
(1985-1986)
C'ity of Kirkl and, Washington
Community Cul tural Pl an (1991)
.
P.O. BOX 374
INDIANOLA, W A
9 8 342
(206) 297-8331
Richard Linzer
Page Two
Corporate Clients
Skinner Corporation
Corporate Philanthropy Report
C.B.C.S. Ltd. .
The HerbFarm
Current/Rutl~dge, Inc.
Gleason C~rporation
Wooden Boat Shop
PROFESSIONAL EXPERIENCE
Executive Director, The Artists' Foundation, Boston,
Massachusetts (1975-1979)
Director for Community Service & Exposure Programs,
Creative Artists Public Service Program, New York, New
York (1973-1975)
Vice-President, Sound Yachts, New Rochelle,
New York (1971-1973)
Director Special Educational Services, Antioch College,
Yellow Springs, Ohio (1968-1971)
Director of Admissions, Franconia College, Franconia, New
Hampshire (1967-1968)
EDUCATION AND DEGREES
Antioch College, Yellow Springs, Ohio
Bachelor of Arts, Sociology & Anthrop~logy 1961-1965
Columbia University, New York, New York
Master of Science, Community Organization and
Administration 1965-1967
PUBLICATIONS
"Borrowing: A Resource for NonProfits" Chronicle of
Non-Profit Enterprise, Jartuary1989
"Why You Want To Borrow From Banks" Taft Nonprofit
Executive, Volume VIII, Number 8, April, 1989
"Endowments: The Other Side of the Coin" Chronicle of
Non-Profit Enterprise, September, 1989
Richard Linzer
Page Three
PROFESSIONAL ACTIVITIES & AFFILIATIONS
NofthwestRegional -Land Trust Conference - Board
Development Workshop Leader
Panelist, NEA Advancement Phase II
Facilitator, Western State Arts Agency, Performing Arts
Director's Retreat
Senior Consultant to the Seattle Business Voluriteers for
The Arts' Regional Advancement Program
Financial Man~gement Instructor for Seattle Business
Volunteers for the Arts
Pacific Northwest Grantmakers Forum, Moderator for panels
on "The Ecology of the Arts"
Planner and workshop leader for the 1988 Business
Volunteers for the Arts "Trustee Training Program"
Money Management Workshop leader for the Seattle United
Way Conference "Leading in an Era of Change"
Member, Seattle Advisory Committee for the 39th National
Historical Preservation Conference 1980
Taskforce on Artists Housing", Office of Housing
Development, City of Seattle 1979
Trustee, Indianola Land Trust, Indianola, WA
National Humanities Faculty, Concord, Massachusetts
For~er Trustee, Boston First Night, Boston, Massachusetts
Formerly member of the Visiting Committee on Exhibitions,
Institute of Contemporary Art, Boston, Massachusetts
Former Arts ~onsultant, State University of New York
Former Trustee, Bostbn Film/Video Foundation
Former Assistant to the Dean for Academic Development,
The City University of New YOrk
Former Trustee, Colonades Theater Lab, New York
Richal~d Linzer
Page Four
REFERENCES
James Kolb, Director, Marine Science Center, P.O. Box
2079, 18743 Front Street N~E. Poulsbo, WA 98370. (206)
779-554.9
Susannari Malarkey, Director, Business Volunteers for
the Arts, 1200, 1 Union Square, Sixth and University,
Seattl e, WA 98101 ~ (206) 461-7209
Evan Kavanagh, Executive rrirector, The Western Alliance
of Arts Administrators; 44 -Page Street, Suite 604B, San
Francisco, CA-94102-5986 (415)621-4400
Carey T. Caldwell, Former Director, Suquamish Museum,
Senipr Curator of History, Oakland Museum, 100 Oak
Street, Oakland CA 94607 (415) 273-3842)
Craig Smith, Publisher/Editor, Corporate Philanthropy
Report, 2727 Fafrview Ave East, Suite-D, Seattle, WA
98102 (206)329-0422
Lynn Stokesbary, Director of Parks and Recteation, City
of Kirkland, 123 Fifth Avenue, Kirkland, WA 98033-6189
(206) 828-1217
, ...
BIOGRAPHICAL SKETCH
I direct a management consulting group which provides servic~s to
businesses, non-prpfit organizations and a federal agency.
During the past 25 years, I have consulted with more than 300
nonprofit institutions in the arts, education, health care,
community mental health, and the humanities..
I am currently conducting an evaluation of Festival 2000 for the
San Francisco Foundation. The study will assess the consequences
of the festival's demise in 1990. Last year, I completed a long
range planning effort for the Western Alliance of Arts
Administrators and a community cultural plan for the City of
Kirkland, Washington. I also presented a~eries of seminars for
Seattle Business Volunteers for the Arts on non-profit financial
management and board development.
As Dirsctor of Community Service Programs for the Creative Artist
Public Service Program I worked with artists and over 1,000
community organizations in New York State. I evaluate cultural
institutions for the NEA Challenge Grant Program and served as an
,Advancement Program field consultant.
As Executive Director of the Massachusetts Artists' Foundation, I
developed the first broadly based empirical study of individual
artists ever conducted in the United States. Over 3,200 visual
artists were surveyed. This methodology is still being used
today in studies of individual artists.
Working with the Suquamish Tribe, I developed a business plan
which obtained commercial financing for constructing a museum on
the Port Madison Reservation. I recently completed a planning
and implementation strategy for the Marine Science Society of the
Pacific Northwest which resulted in the construction of a new
municipal facility for the Poulsbo Marine Science Center.
"
I have raised over thirty-six million dollars in grants and gifts
and secured over f i ve mill i on dol 1 a r s' i n .1 0 a n s and c red i t for
nonprofit organizations. I have taught and written about the use
of credit in the financial management of non-profit
organizations. My articles on borrowing have been published by
the Chronicle of Non-Profit Enterprise and by the Taft Non-profit
Executive.
I serve as a trustee for a number of pUblic and private
organizations, including ones which address issues of policy in
philanthropy, the arts, and the environment.
"J
"
TO:
SALINA ARTS AND HUMANITIES COMMISSIONERS
FROM:
MARTHA RHEA
DATE:
MAY 7, 1992
Enclosed is a draft of the roles and responsibilities of commissioners, updated to
include Wolf Report recommendations that reflect community-wide cultural planning
and the formation of the A&H Foundation. Joe Warner and I met to develop this draft,
and also make the following suggestions for Commission consideration at the
upcoming meeting.
Appointment of Arts and Humanities Commissioners: Suggest a process where the
Arts and Humanities Commission will recommend nominees to the City Commission,
within the framework of the mission and current needs of A&H. These names will be
submitted with the understanding that nominees will submit the appropriate interest
form to the City. A&H will maintain an active pool of possible candidates. The City
Commission retains the final appointment authority.
Involvement of Arts and Humanities Commission in all City policy decisions that have
funding implications for cultural activities/issues: explore examples, implications, and
procedure with City Manager in order to develop basis of understanding and
commitment from City.
Recommended procedure for these two items:
Chair, Director, and interested Commissioners meet with City Manager to discuss
issues and suggested procedures. Develop necessary materials, recommendations,
and request for study session with entire City Commission. Follow that with
recommendations for vote of Commission, if necessary.
..' ;;
.
ROLES AND RESPONSIBILITIES OF COMMISSIONERS
The Salina Arts and Humanities Commission has two distinctively separate roles to
play. As a department within a large public entity--the City--a Commissioner's role is
more of an advisory one. The City Manager has authority over the Arts and
Humanities staff and budget matters that concern City dollars. Within these
constraints, however, the most important areas of Commissioner responsibility rest in
community-wide cultural planning, as well as agency short- and long-range planning;
communication with the public; advocacy and education in areas of funding and
program; and general overview and advice to staff and City.
However, by virtue of membership on the Salina Arts and Humanities Commission, a
Commissioner is also a director of the Salina Arts and Humanities Foundation. Here
the Commissioner has direct fiduciary responsibility for the Foundation. The basic
purpose of the Foundation is to house and carry out the financial planning and fund-
raising necessary for the proper operation of the work of the Commission, as well as
finincial responsibilities identified in community-wide cultural planning. Dollars from
the City are only a part of the overall financial base of the Foundation.
POLICY/PLANNING:
Commissioners are responsible for setting the mission and the direction of the Arts
and Humanities Commission and working with staff to plan its programs and activities
from y,ear to year. The Commissioners bring a broad community overview. They
represent the total community rather than a certain segment within it. Long-range
planning is one of their most important roles.
The task is more complex, however, since the Commissioners are also nasponsible for
considering matters which relate to the cultural life of the entire community.
Commissioners set the framework for community-wide planning, and see! that the
process is carried out and evaluated in a continuous manner.
FUND-RAISING:
As directors of the Salina Arts and Humanities Foundation, fund-raising is the ongoing
responsibility of Commissioners. To carry out this responsibility, Commissioners may
be involved in tasks such as researching potential donors, reviewing proposals or
grant applications, and soliciting contributions. Commissioners also have an
important role in advocating both formally and informally for public and private dollars.
This advocacy role is extremely important. Education of City Commissioners and other
public and private bodies will often determine the level of financial commitment.
BUDGET/FISCAL POLICY:
Commissioners have fiduciary authority and bear direct fiscal responsibility for the
Commission through the Salina Arts and Humanities Foundation. Commissioners
particpate with staff in short- and long-range financial planning and its implementation.
It is the responsibility of Commissioners to review budgets devised by the staff and
.\
, ..
make Ibudgetary recommendations.
FEEDBACK ON THE PERFORMANCE OF THE CHIEF EXECUTIVE OFF~CER. The
City Manager has the authority to hire, evaluate, and fire the director of the Arts and
Humanities Commission. However, it would be helpful to create a partnership
between the Commissioners and the director by creating an opportunity for a dialogue
on the director's performance to provide that individual with an assessment of his or
her performance, as well as suggestions for improvements. Such a process might
have the following steps:
each Commissioner would be given a sheet with a series of questions about
areas of the director's work responsibilities to fill out
the comments from these sheets would be collated by the Executive committee
of the Commission
this group would meet with the director to review the comments and listen to
the director's responses, if any
the committee would report any of the director's relevant comments back to
the full Commission.
J.
. .
COMMUNITY VENTURES
~.
REPORT TO THE SALINA ARTS AND HUMANITIES COMMISSION
ASSESSMENT OF THE SMOKY HILL RIVER FESTIVAL
Danielle Withrow
President
Community Ventures
,
, }
COMMUNITY VENTURES
~.
REPORT TO THE SALINA ARTS AND HUMANITIES COMMISSION
ASSESSMENT OF THE SMOKY HILL RIVER FESTIVAL.
Table of Contents
INTRODUCTION
1
FORMAT FOR THE ASSESSMENT
2
FOCUS GROUP SUMMARIES:
1. Organization/Management
2. Finances
3. Volunteers
4. Programming
5. Marketing
6. Site/Location
3
4
5
6
7
8
RECOMMENDATIONS
1. Organization/Management
2. Finances
3. Volunteers
4. Programming
5. Marketing
6. Site/Location
9
10
12
13
15
17
CONCLUSION
18
APPENDIX
Tab 1
RESOURCE MATERIAL
1. Long-range plan: Artsplosure,
the Raleigh (NC) Arts Festival
Tab 2
2. 1988 - 1989 Annual Report: Artsplosure
Tab 3
3. Fundamentals of Endowment Development: William Pratt
Tab 4
4. Mluketing Information: Salina Market
Tab 5
3601 CONNECTICUT AVENUE NW, #112 WASHINGTON, DC 20008 202-686-0936
,
, l
FORMAT FOR THE ASSESSMENT
The primary method for evaluating the festival was two~fold:
~ discussions with the staff and business and city leadership
~ focus group meetings
During the focus groups, participants were asked to silently generate ideas and opinions
on four questions. The participants were then asked to verbalize their ideas and opinions
in a brainstorming exercise and all the responses were recorded on a flip chart. The
responses to the brainstorming exercises are recorded verbatim in the appendix. No
response has been deleted or edited. The responses represent the ideas of individuals
and mayor may be a correct assumption. ..
The four questions used in each of the focus group meetings were are follows:
1. What strengths do you think exist in terms of financial and human resources
and the management structure of the festival?
2. What weaknesses do you think exist in terms of financial and human
resources and the management structure of the festival?
3. What opportunities do you think exist that can be capitalized on in the future
to enhance the festival in terms of financial and human resources and the
management structure?
4. What obstacles exist that will hamper the growth of the festival?
SUMMARY OF THE FOCUS GROUP RESPONSES
The focus group responses can be categorized into the six areas of the assessment
process. Each of these areas will be summarized in the following pages. All of the ideas
and opinions recorded in the appendix should be reviewed to obtain the full picture
expressed by the participants in the meetings.
Overall the participants in the focus groups felt very positive about the festival. They felt
that by voicing their ideas and opinions on the weaknesses and obstacles they could help
improve the festival and were appreciative of the opportunity to comment on the festival
in the assessment process.
2
.
, "
SUMMARY: 1. ORGANIZATION/MANAGEMENT
This area will specifically deal with the overall management of the festival. The other five
areas, in effect, also deal with organization and management issues.
The participants in the focus groups felt that the festival was very well-managed. One of
the primary strengths of the festival was the staff and the continuity that the leadership
of the festival has provided over the years. They felt that the chain of command works
well and that there was strong communication between committees. The city department
heads commented that the departments work well together to provide services for the
festival.
At the same time there were several comments that more communication was needed
betwe'en the "project arms" and the committees.
The City department heads in particular felt that more communication was needed
between the staff and the departments. Some of the areas the city department heads
were anxious to work with the staff on included parking, security, set-up, and park design.
On the other hand, the departments heads commended the Commission for the
opportunity to be a part of the assessment process and to be able to express their
opinions during one of the focus groups. They encouraged more opportunities for joint
planning and dialogue, particularly in the early stages of planning. They felt that many
critical issues such as the placement of barricades, festival security, and pedestrian safety
at the events such as the foot and bike races would go more smoothly as a result of
more communication.
3
.
, 1
SUMMARY: 2. FINANCES
The major strength in terms of finances was the current financial base of the festival
through the excellent support of businesses and individuals. Participants felt there was
more opportunity for corporate sponsorships and that some businesses Gould be asked
to sponsor major portions of the festival and programming. The Shuttle by the National
Bank of America was cited as a major contribution that a business gives to the festival.
Several participants in the focus groups suggested that there be more of a "return on
investment" for businesses as an incentive to get more involved in supporting the festival
financially. More opportunity for corporate identity and visibility was seen as one way to
help the businesses see a return on their investment. Several of the major businesses
currently involved suggested that they would appreciate more recognition of their
contribution to the festival. An opportunity was to get more businesses involved not only
financially, but with the involvement of their employees, much like the banks are involved
in the shuttle service and the race.
The concept of "having a festival in the bank" met with both positive! and negative
comments. It was generally agreed that having money in the bank to covl9r a "rainy day"
was good financial planning, however the size of the contingency fund and the notion that
the festival was affluent made it difficult to raise money on an annual basis for the festival.
One individual expressed the idea that the festival needed to develop financial goals
which could then be used to help explain the rationale behind the large contingency fund.
The button price was also met with pros and cons. There was no consensus on whether
the button price was too high or low but many participants agreed that it seemed to be
a point of contention. Most people felt that if the amount of activity and entertainment that
festival-goers gets for the four dollars was more clearly articulated that it might quell some
of the dissatisfaction on the button price. Everyone agreed that it was the best activity
for the entertainment dollar available and somehow that needed to be conveyed more
often. The notion that the Salina button price of $4 was continuously compared to the
Wichita button price of $1 would always be an issue and that basically nothing could be
done about that particular debate.
4
SUMMARY: 3. VOLUNTEERS
Another major strength raised by all of the focus groups was the tremendous volunteer
suppor1 that the festival has. They recognized that it is a community-owned event and
that many people are involved in all phases of the festival. In general, the participants felt
that the organization of volunteers was very well done, but there was some room for
improvement.
The area that needed the greatest improvement was recognition of volunteer effort,
whether it was individual or corporate. While there is recognition, the participants felt that
even more was needed. While everyone enjoyed working for the festival, it was hard
work and there just couldn't be enouQh recognition of that fact.
Some of the specific suggestions in terms of business recognition was better signage
when a corporate sponsorship of an activity was involved. In terms of non-profit groups
who were actively involved in specific jobs, more communication of what iit would take to
make
their job easier was recommended. To illustrate this point, the AMBUCS mentioned that
they have been involved for a number of years in picking up the trash for the festival.
Their particular "beef" was that there was now a flimsier trash bag used that often broke,
bolts sticking out in the barrels often ripped the bags, and that more 50 gallons barrels
were needed. In addition, the club can get national recognition for volunteer efforts, but
they must receive more recognition at the local level to qualify. They realized that these
were small minor points in terms of the overall management of the festival, but they
appreciated the opportunity to express them at the focus group sessions. One particular
comment from two different groups was that it was hard to care and get the volunteers
up for working if they didn't get the recognition.
Another issue brought up by a number of focus group participants was that some choice
key volunteer positions never seemed to turn over, and that some community members
felt that it was hard to break into volunteering for the festival and that thl3re lacked new
blood among the volunteer ranks. The notion of rotating and opening up some of the
voluntiSer jobs was an opportunity to be explored.
More clearly defined job descriptions for some of the volunteer positions and more
communication between staff and volunteers was seen as an opportunity to build on.
5
SUMMARY: 4. PROGRAMMING
The quality of the programming both in terms of the visual and performing arts was seen
as one of the major strengths of the festival. The variety of the booths, the entertainment,
and the number of different activities were all part of the individual comments concerning
the quality of the programming.
There was general agreement that the Saturday night entertainment at the! Bi-Center was
still not "clicking" and it needed more serious study on what the right ingredients would
be to make it work.
The children's area was seen as very important but that there were several negative
aspects: sometimes the sponsors were more interested in making money than providing
a opportunity for young people and that some of the games meant tor a younger
audience attracted older children who were really too big for that particular game. It was
felt that if more activities were available for pre-teens and teens, it might help with this
matter.
One major opportunity mentioned in a number of the focus groups was more use of the
river.
The dl9sire to somehow find a way to involve drama more in the festival was raised, but
it was realized that this particular art form was not conducive to a festival atmosphere.
In general people, liked the pre-festival activities, particularly the jam and big band nights.
More involvement on regional day was encouraged..
The idea that all visual arts areas of the festival should be judged by outside jurors was
raised several times. While the emphasis was on quality, it was felt that some of the
perception was that it was still a "crafts fair". In general, participants felt that sales were
very good, but could never be good enough!
There were a number of comments by participants that the festival needed to be kept
fresh with new ideas each year. Participants who sold buttons at the entrance points
mentioned that they heard .comments about the festival being "same thing" every year,
but gemerally the participants in the focus groups felt that the festival management was
always open to new ideas. In particular the artists felt that the festival was open to new
projects and were appreciative of the opportunities the festival provided for artists to do
projects.
With regard to concessions, participants felt that the food offered was excellent, however
it was hard for the nonprofit vendors to compete with the commercial vendors. In
addition, the commercial vendors did not always "follow the same health department
rules" as the volunteer vendors. The participants in the focus group most closely involved
6
with the food booths felt it was important that a festival person accompany the board of
health representative around to inspect the booths to make sure all the groups were in
compliance and that perhaps some type of "report card" for inspecting the food booths
could be developed.
Some comment was made that with all the "pre-festival" events, it was hard to know when
the festival actually started. It was difficult for working families to participate in some of
the festivities that took place during the week, particularly the major activities on Thursday
of the festival.
SUMMARY: 5. MARKETING
Generally, people felt that the coverage of the festival was very good. There were
several comments that sometimes the press emphasized negative aspects too much such
as the button price controversy and the failure of the Saturday night entertainment to find
its niche.
The media was very well represented at one of the focus groups. They were all highly
supportive of the festival and felt that they could actually contribute more to promoting the
festival and wanted the opportunity. The media present felt that it would be easier on the
media if special press buttons were distributed to all the media. It was pointed out that
it often takes more than four people to coordinate on-site radio coverage, yet often the
radio station is not allocated enough buttons to cover their working staff.
7
SUMMARY: 6. SITE/LOCATION
All the participants in the focus groups felt the Oakdale Park by the Smoky Hill River was
a perfect location for the festival. While there were physical constraints on any growth in
terms of size, people had suggestions on how some of the space could be redesigned.
Points were made by participants in the focus groups that they felt would help enhance
the enjoyment of the park and the festival. More areas to sit around thE~ food vendors
and with perhaps some shade tents for people to find some relief from the sun was a
suggestion from several groups. Standard large signage for the booth numbering system
and more signage in general would be helpful.
While the Parks Department thought the festival location was an important use of Oakdale
Park, it was acknowledged that it took a long time for the park to recover from the event
due to the damage cause by the sheer numbers of people in attendance. .-Moving some
of the events to more of the hard surface areas was suggested. The n€!w landscaping
design for the Park may present new challenges and it will be important for the festival
staff to work with the Parks Department early to adapt the festival to the new
configuration. It was felt that relocation of the gazebo and the future plans for a bands hell
that are in the Parks capital improvement budget will enhance the layout of the festival.
Parking was seen as a problem which would always be difficult to solve and more
shuttles as well as extending the shuttle hours was seen as possibilities to improve the
situation. Providing handicapped accessibility will require the redesign 01r the restrooms
which will necessitate more portajons in the future.
8
RECOMMENDATIONS
The following recommendations are categorized under the same headings as the
summaries.
RECOMMENDATIONS: 1. ORGANIZA TION/MANAGEMENT
The Smoky Hill River Festival is a well-managed and organized event, and the staff and
volunteer leadership roles in this effort are clear.
1.1. Develop a written long-range plan for the festival.
One of the most prevalent comments in all the focus groups was the danger of the
festival getting any bigger. Like Topsy, the festival will just "grow and grow" in future
years as it has seen steady growth over its 15 year history. Physical location is a
constraint and the pre-festival activities seems to be one way the festival has expanded.
A lon9-range plan will help keep quality growth in the forefront of the year-to-year
planning process. An example of a long-range
plan for a festival is included in the resource material.
1.2. Work more closely with City department heads prior to the festival.
The staff currently works closely with the department heads, but they would like even
more communication and sensitivity to the demands that the festival makes on their
departments and personnel. They suggested more planning upfront and early in the
decision-making process.
More on this issue will be covered under the recommendations concerning site and
location.
9
RECOMMENDATIONS: 2.
FINANCES
The festival is one of the more highly successful festivals in terms of fund-raising and
earned income in the country. The internal controls and record-keeping are all in order.
One suggestion made by the staff was that counting the money on the festival grounds
not only took time when there was so much to be done to manage the minute-to-minute
festival operations, but they also felt uncomfortable despite excellent security. Many
festivals simply deposit the funds in the overnight deposit box of the bank on a periodic
basis and then go in Monday morning and count the money in the bank. This is a minor
recommendation that should be considered.
2.1. Consider setting up an Endowment Fund with the contingency fund the
Festival now has on hand.
The comments in the focus groups are right on target -- it is difficult to raise funds when
the perception is that you have a "festival in the bank". The contingency fund you have
on hand is much larger than most festivals; even ones with budgets in thH $500,000 - $1
million range.
A workbook by William Pratt on the Fundamentals of Endowment Development defines
an endowment as " a permanent fund established by an action of the board of a non-
profit organization. The principal or corpus of the endowment is not expended but rather
investHd to generate interest or dividend income which is then reinvested and/or used to
meet specific financial obligations". While you have a separate "foundation", this is not
the same idea as setting up an endowment fund, although clearly it would be the
foundation which undertakes this activity.
In a sense, you are already investing the contingency fund and using the interest to
support the expenses of the next year's festival. Although $8,000 is a large line item to
try to replace, I would suggest taking the interest and investing it in another activity of the
Arts and Humanities Commission. One important activity could be arts education or some
perma.nent community improvement such as the band shell at the park. Using the funds
to pay expenses on the festival will not make the kind of community reinvestment
statement you are trying to get across.
2.2. Explore additional opportunities to find corporate
sponsorships and recognize their contribution and investment in the festival.
A number of community leaders felt that more corporate involvement opportunities with
10
the festival could be cultivated. In addition, several current sponsors felt that they
needed more recognition for their contribution. It is difficult to make a blanket statement
about how that increased recognition should come about; each major corporate sponsor
should be visited and asked personally what they would suggest to !~ain increased
visibility for their contribution.
In addition it is important to make sure that all the business leaders have as much
financial information as they need to make funding decisions about the festival. Again,
while the staff of the festival does provide a budget and audit information to each major
contributor, it might be wise to visit them and ask if they would like any additional financial
information. I do not believe that additional recognition to the corporate sponsorships will
"commercialize" the festival.
2.3. Realize that the button fee will always be an issue and continue to work to link
th4~ button fee to the quantity and quality of the three days of entertainment and
family activities.
I believe the majority of the community thinks the button price is reasonable. No other
event could provide the activities that the festival does for the price (Le., movies, etc.).
There will always be nay-sayers, particularly in light of the Wichita button
price of $1. Possibilities that might be looked into is a family button price that will help
save perhaps $5 per family (this will also emphasize the family-oriented nature of the
event) and a reduced button price on Sunday.
The price of $5 is fair but I would not try to go above that price in the coming years. If
festival expenses go up, it will be important to live within the $5 button price or find
additional sources of income. The community will have a problem with a button price
higher than $5 at the gate.
2.4. Continue the excellent system of providing detailed information to the
fundraisers.
The material that I reviewed in terms of job definitions and timelines for the volunteers
involved in fund-raising was very thorough and explanatory. The people in the focus
group who assisted in raising the funds did not specifically mention this material as a
strength or a weakness so this recommendation is based primarily on viewing the
documents themselves.
11
. ,
RECOMMENDATIONS: 3. VOLUNTEERS
The large number of dedicated hard-working volunteers is impressive. Hundreds of
community citizens give their ~ime and energy to make the festival a success.
3.1. Work more closely with the non-profit organizations and volunteers that have
major responsibilities at the festival.
It is cJl3ar that there is good communication between the staff and the volunteer teams
that do much of the work. However, some of the groups would like even more of an
opportunity to talk with the staff about ways their jobs could be made easier.
The staff can never do enough to help make a volunteer's job easier; they are the
backbone of any non-profit organization and certainly indispensable in a festival which
requires such a large number of volunteers. Brian O'Connell, CEO of the Independent
Sector, the largest national association for nonprofits, says in The Board Member's
Handbook, ''The primary role of staff in a non-profit organization is to work to bring about
maximum volunteer involvement, dedication, responsibility and impact." He goes on to
say that the measure of success of staff should not be in how much they personally
accomplish but how well they worked with volunteers to get the jobs done. I believe the
staff of the Smoky Hill River Festival and the Arts and Humanities Commission adhere
to this principle, but, once again, according to the volunteers themselves, even more
could be done in this area. While the staff does conduct focus groups with the volunteers,
perhaps more opportunities in a brainstorming setting would give the volunteers more
ownership and input into the festival.
3.2. FUnd additional ways to involve volunteers
When a festival is 15 years old, there is no question that some of the major volunteer
positions are done and done well by the same people year after year. It is not possible
in the short visit to ascertain what volunteer positions could use rotating or if that is a wise
move. This question does however need to be explored since it was brought up in a
variety of ways during the focus group meetings.
12
RECOMMENDATIONS: 4. PROGRAMMING
The quality and variety of programming for the festival is superb. Much of this is
attributed to the fact that the button fee helps to offset the cost of much of the
programming. Many festivals do not have the capability of charging a fee because their
entry into the festival space cannot be controlled. The cutting edge difference between
the high quality of the Smoky Hill River Festival and other festivals in comparable size
cities is that the button fee allows for the type of budget the festival has to spend on
entertainment and artists projects.
4.1. \^lork to provide additional participatory activities for youth ages 8 - 12 and t
teenagers.
The children's area is one of the more successful areas of the festival, but there were
some excellent suggestions on ways to improve on it. It seems it is too popular with the
older kids that push the younger ones out. The suggestion was made to have additional
activities for pre-teens.
With regard to the teenagers, the jam is certainly a hit. Ask a group of teenagers what
they would like to see and involve clubs that cater to teenagers in providing some of the
suggested activities. Don't plan for the teenagers, plan with them -- they will come up
with far better ideas of what they would like than adults will be able to come up with, and
I feel confident that many of the ideas will be do-able.
4.2. One more time, take a hard look at the Saturday night entertainment at the
Bi-Center.
It seems everything has been tried but it still does not live up to the success of all the
other areas of the festival. One recommendation is to treat the Saturday night as a
marketing opportunity to bring in entertainment that is the most in demand. Trying to
"expose or educate" the community to a lesser known art form and fillin~1 a major arena
are not compatible goals unless you intend to subsidize the event and live with the loss.
The staff of the Bi-Center and the radio stations are more than willing to lend a helping
hand to make this Saturday night event a success. It seems that alternating a country
band one year and a 60s type band the next year might be a good mix based on your
past experience, but it is hard to say without more analysis of all the factors. I agree that
there should be an additional charge for the Saturday night event. I do not think that
charging extra for the event is the real issue; if it is top line entertainment that the
community wants to see -- they will pay the price.
13
; .J
4.3. Continue to provide the excellent opportunities for individual artists to be
involved in temporary art installations.
This is one of the more unique features of the festival and one that also keeps it fresh
and different. One concern of the artists however was providing addirtional security
around the projects during the festival to keep damage to a minimal.
4.4. Continue the jam and big band pre-festival events.
These seemed to be very popular events for two entirely different segments of the
community.
The other pre-festival events such as the workshops did not solicit alot of- responses in
the focus groups, but again, they add to the diversity of the festival and apparently are
very successful.
4.5. Continue the selection process for artists and consider an outside jury for the
Four Rivers Market.
The materials to solicit artists and craftspersons to exhibit and sell their work was
informative and attractive. The suggestion was raised that it would be easier if the Market
area was also judged by an outside jury to take the pressure off the volunteer area
organizers who seem to "catch alot of grief" from local people who do not get juried in the
market.
14
RECOMMENDATIONS: 5. MARKETING
The marketing materials and graphics are excellent. While no one in the focus groups
mentioned specifically the graphics, I believe keeping the graphic standards high is
important.
5.1. Consider the primary market for the festival to be the same as tlhe advertising
m~uket for the area media.
In your long-range planning, the radio stations and newspaper have excellent marketing
documents, detailing the market area for Salina. It is quite a large market serving a 20
county area with a population of 220,000 people and may deserve more of your attention.
The marketing information will help you more readily target additional aueiences within
your primary market. Remember that the community does not see growth in the numbers
of people attending the festival as a major criteria for success and are in fact fearful of
too many people. Your space will limit the numbers that can comfortably be
accommodated.
5.2. Work even more closely with the media in promoting the festival.
The representatives from the media were among the most enthusiastic people for the
festival. They felt they could do an even better job in helping you and want to meet with
the staff to explore options. Despite the fact that they are competitors, the level of
enthusiasm at the focus group indicated that they are all willing to do what it takes to
make marketing the festival successful. One complaint was that they wen3 being "nickled
and dimed" on the buttons. In any market, large or small, special considerations are
given to the media in terms of access to events with an admission fee -- it is simply
standard practice. The idea of having special media buttons printed up is a good one and
give them the number they need to do an adequate job for you -- they are among the
festival's best friends. Like the other businesses, they would like the recognition as good
corporate citizens when they are sponsors of particular activities.
5.3. The marketing budget is adequate. Find a method to evaluate whether your
marketing strategies outside your immediate market area are effective.
Detail<ed information was provided on where the marketing dollars for the festival are
spent. .
It is hard to say exactly how much you should spend on buying either TV or newspaper
ads in Wichita. As you point out, your festival is very close to their large r~ver festival and
15
, ,
it may not warrant a large expenditure of funds in the Wichita market. I think you are
correct in not spending TV dollars in the Kansas City market area. Ads that you take out
in such publications as Midwest Living magazine will catch the long distance travelers
looking for something to do on that particular weekend.
Sending small ads to the home-town newspapers in the area is probably money well
spent.
With the ads you place in the small town newspapers in addition to Hutchinson, Topeka
and Kansas City suburbs, you might try surveying these audiences by o"ffering a $1 off
the price of admission if they bring in the ad so you can get some idea whether or not this
newspaper advertising is effective.
Several years ago, the balloon contest was effective in getting some infOJrmal marketing
information by having people fill out a card to tie to the balloon. Gate prizes are also
effective' while not everyone will fill out a card for the opportunity of winning a gate prize,
you willi get a very good sample of the zip codes for the people in attendance at the
festival.
Your festival does attract visitors to Salina; if you intend to use this argument, you need
information to back it up. You might work with the business departments of one area
colleges or universities to develop a marketing survey strategy.
5.4. Stick to the deadlines for printing the mailers for the festival.
This was a direct request from the staff of the festival. There is so much information that
needs to be put into the mailers, yet if the deadlines are not kept then the advance
marketing for the festival suffers. Many people are involved in compiling the information
and all need to be cognizant of the deadline.
16
RECOMMENDATIONS: 6. SITE/LOCATION
The Park is a wonderful location for the festival and certainly contributes to its success.
6.1. Consider additional signage
While the bird's eye view map of the festival is excellent in laying out the festival,
unfortunately it is not the vantage point that human beings view the festival. Generally
they are in a crowd of people at ground level. Getting signs above the normal sight line,
particularly for the booths was suggested. Better signage for corporate sponsors was
also suggested.
6.2. Continue to work closely with the Parks Department on the future redesign
of the Park.
It goes without saying that the staff currently works very closely with the Parks
Department. The Parks director was very supportive of the festival, yet n~alized that the
large numbers of people dramatically affected the park; some trampling of the landscape
is unavoidable. It will be important to work even more closely with the Parks department
as they resign the landscaping and re-do the restrooms to make them handicap
accessible. The idea of trying to move some of the activities to the hard surfaces needs
to be looked into.
6.3. Continue to work closely with the Public Works Department on festival
lo~~istics.
One specific area mentioned was the placement of the barricades.
There may be other areas that could go more smoothly with additional communication
both before the festival and during the actual set-up.
6.4. Continue to work closely with the Police Department on security for the
festival.
The Police chief was concerned about the safety of the people, particularly during the
bike race and foot run, but also wanted the festival staff to understand and be sensitive
to the ongoing demands of the police department to protect and serve the entire city
during the festival weekend. It will be important to continue to work with the Police
Department to come to an agreement about the amount of security needed for the
festival.
17
CONCLUSION
The Smoky Hill River Festival is one of the more successful and quality-oriented festivals
of its kind. With even the most successful of festivals, there is always room for constant
assessment and evaluation to improve and enhance the event.
This report and its recommendations is based on the review of the materials and listening
to the ideas and opinions of some of the people most dedicated to producing an excellent
and fun festival for the community and the region.
In conclusion, there are only three major issues that will severely hamper the future
success of the festival:
1) not dealing with the notion of having the large contingency fund without
developing some concrete program of reinvestment into the community
2) not paying attention to the small details for improvement asked for by both
the volunteers and city staff
3) not giving all the recognition possible to the individual volunteers, nonprofit
organizations, and good corporate citizens that make the festival possible
Perhaps these three areas seem to be what Tom Peters, author of In Search of
Excell1ence, called "the blinding flash of the obvious".
Considering the size of the festival budget, these three areas will not require large
expenditures of funds to correct, yet the return on this investment will reap benefits and
goodwill for years to come.
18
Assessment of the Smoky Hill River Festival
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Smoky Hill
:Museurn
. 211 West Iron
i P.O. Box 101
I Salina. KS 67402-0101
"'-- (913) 826-7460
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Museum Committee Meeting
Wednesday, May 6, 1992
2nd Floor Conference Room
3:30 p.m.
AGENDA
1. Open Forum
2. Minutes of April 8, 1992
3. Budget Review for April 1992
4. Staff Report
5. Other
a. Long Range Planning Update - Debbie and Tom
b. Governance Committee - Kathy
c. 1993 City Budget - to be handed out at meeting
PS: Please bring the name(s) of prospective Museum Committee members
for the file.
Call 826-7460 if you cannot attend.
- an affiliate of the Salina Arts & Humanities Commission _
SMOKY HILL MUSEUM
Museum Committee
MINUTES
3:30 p.m., Wednesday
Apri 1 8, 1992
2nd Floor
Present: DeVere Blomberg, Debbie Divine, Nancy Hodges, Jane Weathers,
Paula Wright, Tom Pfannenstiel, and Joy Mansfield
Absent: Loren Banninger, John Lohmeyer, and Kathy Rawlings
There was no one present to address the Open Forum.
Action:
Minutes of March 11, were approved following correction of typographical
errors in the Friends Report paragraph. (corrected: Sentence
beginning "He noted..." now ends with 1990. Next sentence begins
with liThe addition...")
Budget Report for March was accepted.
REPORTS
Staff: Tom highlighted the report as mailed, noting the approximately
10% decline in attendance from the same period last year, which he felt
was explained in part by the opening day crowd in 1991 when Maudie Tinkler1s
quilts were exhibited. He pointed to the success of One Keepers' Place
and said initial attendance in the room has been encouraging. Katie Armitage's
Foodways program attracted a good audience in terms of numbers (as well
as appreciation).
Tom urged committee members to attend the Chuck Berg big band 1930s dance
on April II.
The May meeting of this committee will be held on the 1st Wednesday, May
6, instead of the usual date, a change necessitated by the 1993 budget
process. Budget Work Sheets will be received by the Museum on April 24,
to be approved by the Museum Committee, and forwarded to the SAHC (meeting
5/16/92) for approval. The completed process deadline is May 15.
Discussion of the Friends proposal to meet informally with the Museum Committee
was discussed and a potluck planned. Both groups will be polled for preferred
dates. The Museum Committee will furnish service, drinks, dessert and
salad; Friends will be asked to bring meat, bread, and veggies. Chair
Nancy Hodges offered her home (850 S. Santa Fe) as the site. Dates considered
are: 6:00 p.m., May 4, 10, 11, 18.
Friends: DeVere reported that a meeting of the Executive Board was held
April 6 at 4~00 p.m. As of March 31, there were 149 memberships.
Pam Hodges attended the meeting and discussed the merits of instituting
the credit card option of payment. First quarter sales were down from
1991, but up from 1990.
The Friends had also approved a request by the Museum for funding assi ince
with the Noon Coolers, Climbing Jacob's Ladder, and All Systems Go, no
to exceed $6500.
Jim Trower will complete the tax procedures before the May 4 Friends meeting.
Next Month: Meeting MAY 6, 3:30 - FIRST WEDNESDAY
Kathy Rawlings will report on the work of the Job Description
subcommittee.
Tom will bri ng Long Range Planni ngreports.
Members are to bring the names of propspective committee members.
Adjourn: 4:25 p.m.
Note: Next meeting FIRST WEDNESDAY - MAY 6, 1992 - 3:30 p.m.
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Staff Report
May 6, 1992
Current:
1. Recorded attendance for April was 994, compared with 626 for the
same time in 1991.
2. Several task force groups have been meeting to wind down their work
by June 1. The Friends/Volunteers and Marketing committees have
completed their recommendations while Education and Exhibits/Collections
are nearly through.
3. Wanda Clark, Curatorial Aide, was the recipient of Bank IV's IIMake
A Wish for Salinall volunteer award for her work in several agencies
in Salina.
4. Lisa is preparing the regional additions for liThe Shell Game,1I on
exhibit May 31 - July 5, will highlight Kansas freshwater mussels
and local button collectors.
5. Native plants are being added to the West side; labels have been
installed for the season. A few cactus plants will be added later
in May.
6. Mary goes on 6-week sick leave for surgery and recovery May 4 - June 15.
7. Letha Johnson completed her internship here April 30 and begins May 4
at the public library.
8. Debbie has planned an activity for children to make a IIButton Dancerll
from buttons and beads. An activity sheet to teach the history,
identification, how to collect, how to sew on buttons, other crafts
and games, and a reading list for further study will be provided.
It will be held in conjunction with liThe Shell Gamell exhibit.
9. Debbie is formulating a task force to plan and carry out a Science
Fair for children involving those science disciplines involved in
space exploration. A 4-H unit will work on a rocketry project to
be displayed. Other programs are being developed for the IIAll Systems
GolI exhibit.
10. CATS--the community access television station (Channel 6) is now
receiving information about Museum exhibits, programs, and activities
for airing on its community events calendar.
11. A 2-5/16 inch by 2-1/4 inch ad has been purchased in VISTAS, the
magazine being produced for the Chamber of Commerce for availability
on Air Midwest flights this summer. The ad will be in black and
white and will highlight One Keepers' Place. Several thousand copies
of the magazine will be given to the Chamber for distribution as
well.
Activities:
1. The Chuck Berg dance at the Salina Country Club drew approximately
70 people. The museum appreciates the co-sponsorship of the Friends,
KINA, and The Salina Journal.
2. Thirty-eight children and twenty-three adults attended the Beatrix
Potter story reading by Vicki Price in One Keepers' Place April 18.
Response to the program was very good and others may be planned for
the room.
3. Lisa and Mary picked up the medical exhibit which had been on display
at Asbury Hospital.
4. Dorothy Boyle returned after a 2-month personal leave.
5. Received: 22 items from 6 donors, including 17 modern railroad items.
6. Catalogued 103 new accessions and 64 old collections.
7. Prisella has developed a new activity/program practice for the Museum.
Participant evaluation sheets are now made available to visitors
to record their responses. The first program that made use of these
sheets was the Beatrix Potter story reading given by Vicki Price
in One Keepers' Place April 18. The questionnaire also asks for
activity suggestions. Some responses: puppet shows, hands on experiments,
more story readings, any kinds of kids programs, children1s activities.
Upcoming:
1. An exhibit of River Festival Art will be in the Southwest Gallery
during teh month of June.
2. Lobby cases will be changed every 4-6 weeks. One features new accessions.
The larger one has a focus; this month it is a "What Is It?" case.
3. Noon Coolers are lined up for the month of July.
4. Exhibits intern, Laura Deckert, begins half time work at the museum
May 18. A KSU student, she will be assisting in exhibit development
and installation throughout the summer.
5. The museum has been asked to co-sponsor a living history performance
in September 1993 with the Naturalist Division of Salina Parks and
Recreation Department. Discussion of this venture has just begun.
6. Intern Laura Steele who worked with the museum the past summer will
return this year.
7. The Collection/Exhibit task force will complete deliberations and
file its report by the first part of June.
- ""_,~H"".~"",~,~. """""""" ._~-'
mE
SALINA
ARTS
AND
HUMANITIES
COMMISSION
211 w: Iron · Box 2181 · Salina, KS 67402-2181 · 913-826-7410
SALINA ARTS AND HUMANITIES FOUNDATION
MEETING:
MAY 14,1992
TIME:
3:30 P.M.
PLACE:
SMOKY HILL MUSEUM
AGENDA:
1. Minutes
2. Salina Arts and Humanities Commission - monthly financial report
3. Other
Betsy Poer, Chair I Paula Wright, Vice-Chair I Nancy Hodges, Secretary-Treasurer
Sarabeth Geis, Randy Graham, Ann Rollins, Ned Rose, Clay Thompson, Joe Warner, Jane Weathers
Martha Rhea, Executive Director
THE
SALINA
ARTS
AND
HUMANITIES
COMMISSION
211 W Iron . Box 2181 . Salina, KS 67402-2181 · 913-826-7410
SALINA ARTS AND HUMANITIES FOUNDATION
APRIL 16,1992
The meeting was held in the Commission room at the Smoky Hill Museum. Members
present were Clay Thompson, Ann Rollins, Randy Graham, Ned Rose, and Joe
Warner. Officers present were Martha Rhea and Lana Jordan. Staff present were
Connie 130nfy and Juli Pritchett. Also present was Carmen Wilson, League of Women
Voters.
MINUTES. Approved by concensus.
FINANCIAL REPORTS. Monthly statements for the SA&HC were reviewed and
presentE~d. Rose made a moved that the reports be accepted as read, Graham
secondEld the motion. Motion carried.
The quarterly report for the Smoky Hill River Festival was submitted for
Commissioner's approval, with special attention called to the increase in office
supplies expense due to Festival's absorption of more of the actual costs of the office.
Rose moved that the report be accepted as written. Accepted by concensus.
Horizons finan'cial reports were reviewed without question. Graham moved they be
accepted and Rose seconded the motion. Motion carried.
With no further business, Rollins moved to adjourn, Rose seconded the motion.
Betsy Poer, Chair / Paula Wright, Vice-Chair / Nancy Hodges, Secretary-Treasurer
Sarabeth Geis, Randy Graham, Ann Rollins, Ned Rose, Clay Thompson, Joe Warner, Jane Weathers
Martha Rhea, Executive Director
"
i c
~
\
~
SALINA ARTS & HUMANITIES COMM.
SALINA ARTS & HUMANITIES FOUNDATION
INCOME AND EXPENSE STATEMENT AS OF 4/92
INCOME
TICKET SALES
P. TRAXLER BOOK SALES
USD 305
KAC-COK~UNITY DEVELOPMENT
KAG-PROGRAMS
MID AMERICA ARTS ALLIANCE- A/S
SALINA PUBLIC LIBRARY
CULTURAL AWARENESS CAMPAIGN
S ~' BELL-90/91 ARTS ARE BASIC
SW BELL-91/92 ARTS ARE BASIC
KS COMM. FOR Hl~NITIES (pIs)
INTEREST INCOME
MUSEUM
MISC. INCOME (INCL. SHR PRESS)
CORPORATE CONTRIBUTIONS
INDIVIDUAL CONTRIBUTIONS
CITY OF SALINA
CITY (SALARIES - SA&HC)
CITY (SALARIES - SHRF)
CITY (OTHER)
DESIGNATED FUNDS
OTHER SUPPORT - COMMUNITY RES.
OTHER SUPP. ARTS R BASIC 91/92
LOVEWELL INSTITUTE
TKT SALES ARTIST SERIES 91/92
CORPORATE CONTRIBUTIONS
HORIZONS 50 SUPPORT
OTHER SUPPORT - A/S 1991/1992
REGISTRATION - L. BISHOP
OTHER SUPPORT - AlE C.FINEBERG
TKT SALES-ARTIST SERIES 90/91
CORPORATE CONTRIBUTIONS
IN]) CONTRIB-ARTIST SER. 90/91
INCOME TOTALS
ANNUAL BUDGET
YEAR-TO-DATE
660.00
12,000.00
15,000.00
14.200.00
4.000.00
2,000.00
1. 000 . 00
30.00
6,000.00
13 , 500 . 00
3.600.00
2,850.00
2.250.00
1. 750.00
5,700.00
2,709.00
230.6lf
388.39
15.00
2,800.00
50.00
117,270.00
5,000.00
28,900.00
3,700.00
1. 300 . 00
10,740.00
1,000.00
1,200.00
2,600.00
13,000.001
503.14
1,565.24
4,100.00
930.00
3.470.00
1.530.00
239,320.00
48.221. 41
THIS MONTH
3,600.00
2,709.00
64.86
40.00
4,000.00
1. 556.54
11,970.40
'.
.. .
,
SALINA ARTS & HUMANITIES COMM.
SALINA ARTS & HUMANITIES FOUNDATION
INCOME AND EXPENSE STATEMENT AS OF 4/92
EXPENSES
SALARIES - SA&HC
DIRECTOR
ARTS PROGRAM COORDINATOR/EDUC.
ARTS PROJECT COORDINATOR
CLERK, PRINCIPAL
SALARIES - SHRF
OFFICE SUPPLIES
CAPI T AL 1 r-1AINTENAN CE
TELEPHONE
HEI1BERSHIP
POSTAGE
LITERATURE
TRAVEL
IN-TOWN MILEAGE
OUTSIDE PROF SERVICES - OTHER
GRANTS PROGRAM
MISCELLANEOUS EXPENSE
PROJECTS
NEWSLETTER/ARTS BLITZ
ART A LA CARTE
PERFORMING ARTS
COMMUNITY RESOURCES
A I E ARTS ARE BASIC 1991/1992
LOVEWELL INST.-CREATIVE ARTS
WICHITA CHILDREN'S THEATRE
THE ARTIST SERIES 1991-1992
POETRY SERIES
HUSEUH
SERVICES/PROJECT SUPPORT '
DANCE/PERFORMING ARTS
ARTIST IN EDUCATION- 1992/1993
CULTURAL AWARENESS CAMPAIGN
L. BISHOP - CREATIVE WRITING
ARTS IN BASIC ED.-C.FINEBERG
THE'ARTIST SERIES '90-'91
EXPENSE TOTALS
117,270.00
5,000.00
3,400.00
2,500.00
3,000.00
1, 300.00
1,750.00
400.00
2,000.00
700.00
900.00
15.000.00
500.00
397.53
157.52
906.34
210.00
814.83
59.00
462.86
60.20
95.00
82.00
10.00
91.00-
1, 000.00
24.82
16.17
2,500.00
3,000.00
1.,500.00
4,300.00
15,240.00
1, 000 . 00
2,460.00
14,000.00
12,650.00
2.800.00
500.00
462.97
2,068.80
85.00
2,068.80
2,415.00
6,676.31
195.76
35.00
422.12
14,6:{8.13
7,195.16
2,029.93
730.00
14,592.12
7,090.29
213.00
19,750.00
1,500.00
930.00
3,470.00
64.07
39.86
1,580.00
3,458.96
1,330.00
239,320.00
45,470.33
26,166.22
t
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.,
SALINA ARTS & HUMANITIES CO~lli.
SALINA ARTS & HUMANITIES FOUNDATION
BALANCE SHEET AS OF 4/92
ASSETS
CASH IN BANK
PETTY CASH
SAVINGS ACCOUNT-FNB&T 466261
CD #0189 FIRST BANK
CD#92140 FIRST NATIONAL B & T
9,819.33
50.00
3,074.50
500.00
10,000.00
TOTAL ASSETS
23,443.83
BALANCE ACCOUNTS
BEGINNING FUND BALANCE
TRANSFERS
NET GAIN/LOSS
20,692.75
.00
2,751.08
TOTAL LIABILITIES & NET WORTH
23,443.83
------------------------------------
23,443.83
SALARIES-SAHC
YEAR-TO-DATE
41.426.17
THIS MONTH
10,087.84
THE
SALINA
ARTS
AND
HUMANITIES
COMMISSION
211 w: Iron · Box 2181 · Salina, KS 67402-2181 · 913-826-7410
TO: SALINA ARTS AND HUMANITIES COMMISSIONERS
RE: CITY BUDGET, 1993
DATE: MAY 12,1992
Enclosl3d are the recommended budget requests for 1993 from both the
Arts and Humanities and the Museum. The Museum budget was reviewed by
the Museum Committee at its last meeting.
The basic instruction given by the City Manager in filling out the budget
request forms for 1993 was no increases. Salaries reflect merit only,
with no cost of living. The Museum has incorporated some private
underwriting to maintain its exhibits line item, thereby allowing for
better contractual services in marketing and education. Otherwise,
change~s are slight and basically within the "no increase" mandate.
The accompanying letters point to identified needs, if funding were
available. These letters not only address current needs, but also provide a
basis fbr long range financial planning for the City, assuming the sales tax
is passed in August.
Betsy Poer, Chair I Paula Wright, Vice-Chair I Nancy Hodges, Secretary-Treasurer
Sarabeth Geis, Randy Graham, Ann Rollins, Ned Rose, Clay Thompson, Joe Warner, Jane Weathers
Martha Rhea. Executive Director
SALINA ARTS AND HUMANITIES COMMISSION
1993 BUDGET REQUEST, CITY OF SALINA
The Salina Arts and Humanities Commission approved the enclosed budget May 14,
1992, rE!flecting policy and programming decision for 1993, with accompanying
allocations.
Please Ireview the budget within the following context:
1. The City of Salina provides the basic administrative aspects, includling salaries
and matching monies for programs/services, for the total activities of the Salina
Arts and Humanities Commission.
2. Income for the enclosed budget comes from several sources: the Cilty, a
community arts development grant from the Kansas Arts Commission, general
program underwriting from USD 305, and matching funds from the Public
Library for the Poetry Series.
3. City dollars for the Arts and Humanities Commission represent basic funding
of the total financial base---$51 0,650 in 1991.
a. Besides the sources listed in "2" above, funds come from grants,
donations, sponsorships, and revenues. Total income supports
not only the Arts and Humanities Commission, but also its major
projects: the Smoky Hill River Festival and Horizons Grant Program.
b. City support represents approximately 27% of the total financial base.
4. 1993 Budget worksheet accounts:
701 - Full-time salaries: reflect merit increases
702 - Part-time salaries:
1. $5,250 for Smoky Hill River Festival. Paid back to City.
2. $5,855 - classified, part-time clerical person, reflecting merit.
810 - Contractual Contributions: reflects no increase over 1992, 1991 or 1990.
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SALINA ARTS AND HUMANITIES COMMISSION -- CITY BUDGET REQUEST, 1993
INCOME:
City
Kansas Arts Commission
USD 305
Public Library
TOTAL
EXPENSES:
Salaries - fulltime
Salaries - parttime, classified
Sailaries - Festival
Outside Professional Services
Oftice
Supplies
Capital/Maintenance
Phone
Postage
Travel
Membership/Literature
Miscellaneous
Programs
Services:
Newsletter - 2,500.
Service/Project Support - 1,000.
Poetry Series
-'
Performing Arts:
Art a la Carte - 2,000.
Children's Theatre - 1,000.
Arts in Education:
Arts Are Basic - 9,000.
Community Resources - 4,600.
Musical Arts - 1,500.
Grant Program
TOTAL
$153,943.
15,000.
12,000.
2,250.
$183.19;L
$113,938.
5,855.
5,250.
1,050.
16,000.
$3,400.
2,500.
3,000.
1,750.
2,900.
1,700.
750.
26,100.
3,500.
4,500.
3,000.
15,100.
.1.5...Q.Q.~
$183.193.."
-..y' ;..
. ~
ARTS AND HUMANITIES · SMOKY HILL MUSEUM
Smoky Hill Museum Building · 211 West Iron · Box 2181
Salina, Kansas 67402-2181
TELEPHONE (913) 826-7410 · FAX (913) 826-7207
Salina
~
1i1f
TO:
SALINA CITY COMMISSIONERS
RE:
CITY FUNDING IMPLICATIONS, 1993 AND BEYOND
FROM:
SALINA ARTS AND HUMANITIES COMMISSION
DATE:
MAY 15,1992
The Salina Arts and Humanities Commission completed a community cultural plan,
"Envisioning Salina--A Cultural Covenant with the Future," that was received by the
City Commission in February, 1992. Basic to the presentation was the City
Commission's understanding that "The Plan" represents a point in time, and that
"planning" is an on-going, vital, dynamic process. It was pointed out that an in-process
part of "Envisioning Salina" is a funding committee, charged with exploring current and
potential cultural giving, and recommending effective ways to broaden and increase
culturallfunding from both the public and private sectors.
The future financial role of the City is reflected within this larger picture. Specific dollar
figures and priorities depend upon the conclusion of the work of the funding
committee, under the auspices of the Salina Arts and Humanities Commission.
However, several basic points are clear, and provide a framework for financial
planning in 1993 and beyond:
I. The City is a major player in fostering the arts and humanities.
2. The City historically has been the pacesetter for cultural development.
3. The City is not the only player, but rather a partner with other public agencies
and the private sector.
4. It is anticipated that the City will continue its leadership role, including
increased dollars that respond to identified needs in "Envisioning Salina" and
encourage healthy financial partnerships.
"Envisioning Salina" identified six major goals important to solid cultural development
in the tuture. These goals were based on input from over"900 Saline County residents
and shaped by a core of fifty people on five task forces who volunteered thousands of
hours. The entire process was initiated, supported, and the resulting plan overseen by
the Arts and Humanities Commission. In this sense, the goals truly represent
"identified needs" for future funding consideration by the City. A list of the goals and
potential funding implications is attached.
Based on research already done through the planning process, a likely scenario
follows: the Locals Program at the National Endowment for the Arts has an Incentive
Program that requires a 2:1 match from local governments for a three-year period. The
base yearly commitment from the NEA is $50,000, requiring a City match of $100,000,
.'
,
"
" .
or a total $300,000 over the three-year period. In turn, the City's involvement has the
opportunity to provide a challenge to the private sector. NEA Incentive Grants respond
to a number of community needs, especially those stated in "Envisioning Salina's"
Goals I, II, and IV: leadership, arts and humanities education, and audience
development.
An example of a timeframe, based on the NEA Incentive Grant scenario, follows:
I. June I, 1993: letter of intent submitted to Locals Program. Authorized by City, with
understanding of its role in the match if the grant is funded.
2. August 15, 1993: grant submitted to Locals Program. Reflects policy/program
priorities based on "Envisioning Salina," with budget.
3. August, 1993: 1994 budget reflects $100,000 City match.
4. September, 1993 (on-going): private fundraising to match City challen~le begins.
5. March, 1994: announcement of NEA grant award or rejection.
6. July I, 1994: earliest project beginning date.
Noted that funding implications for facilities (Goal V) are viewed separately from the
programming/services of the other goals. The need for a performing arts facility was
primary in the development of "Envisioning Salina," with specific recommendations
about Marymount College Fine Arts Theatre (and building) and the Fox Theatre, since
its publication interest has been expressed in updating Central Auditorium to a
professional performing arts level. All options must be explored, and again, the City
will be called upon to take a leading role (but not the only role) in the development of a
performing arts facility. Once these steps are explored, staffing, maintenance, and
programming become issues that are of primary interest to the City, either directly or
through partnership in establishing a not-for-profit corporation.
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State Cltv. name of oroanlzatlon address zlo-oountv Ponu/atlon .- I
Oltv aooroorlatlolia
ID Wendell Community AC, POB 164. 63355.Goodlng 5000 $0 I
NC FarmvlIIe Community AC, POe 305. 27828.Pitt 5,000 $5.0_0.Q..1
UT SorlnQdala, :Zion Canyon Councll for the Arts and Humanities POB 115, 84767-WashinatorJ 6.000 $0 I
ID Challis Arts Council Box 1131. 83226.0uster 6200 $0 I
CO Vall Vallev AC, PO BOX 1153. 816SS.Eagle 10,000 $0 I
~ _l>oh-
10 Oascad$, Trle DeDot Institute POB 1098 83611 Nalley 10,000 $U
SD Madison. Community CoHeoe Arts Association POB 147, 57042-Lake 10.000 $17,816
SD Scaarfish Area Council on the Arts and Humanities, BOX 553. 57783-Lawrance ._,
lQ,9QO $0
IA Lamars AC 200 Central Ava. SE S1031.Plvmouth 12.500 $225
TX Monahans. Ward CO ActIvities Counoil400 E 4th, 79756 13115 $Q
NO Edenton. Chowan AC, 101 Court ST, 27932 13,506 $4.000
GA EIliJay, G1Imelr AC Inc.. POB 10aS. 90540 14,000 $1 .413
UT Pleasant Grove City Arts Council 70 South 100 East POB 515,64062 14 000 $500
AL Tuscaloosa.. Art Council of, PO BOX 1117 35403.1117. Tusoaloosa 14 700 $0
AZ Cltv of Sedor,a Arts and Culture Department PO BOX 300002. a6si~~Y~apal 15 000 $46,780
AZ Sedona Arts Oenter. Inc. PO BOX 569, 8G336.Co~1J.!!!.2 15,OO~ $5,000 I
IA Okoboji Lakes Art Center, 51355.Dlcklnson - ~ .. ~.. ,
'15,000 . $0 I
KS Fon Soott, BI,urbon CO AC. 2Q1 S. National AVE POB 491,66701 15.000 T....- ~ ..-- $0 l
MI Standish, Northeast Michigan Arts Counoll, Inc., 3233 Grove Road, PO BOX 238, 48656-02 '15,000 $0
AK Kodiak Arts Council PO BOX 1792. 99615.Kodlak Island '16.000 $16.500
IA Spencer Ar(;)C1. AC, 408 Grand, 51301-Clav '18000 $5.000
AZ Casa Grande, Arts and HumanIties Oommlsslon 300 East 4th St 65222.Plnal '19082 $24 200
CA Quincy. Plumas CO AC. PO BOX 608, 95971 20.000 $0
_M_""--M .,
KS lola, Bowlus FIne AC. 205 E Madison. 66749.Al1an ~W.OOO tv/JI !
MO Boonvlll&, Frll~nds of Historic. POB 1776. 614 E MarClan, 652.33-CooDar 22 000 $40\J
IN Portland, Jay CO AO, 1se e MAlt-! ST.f.9~ 804, 47S71 23.000 $10.000
NC Wadesboro Anson CO AC. POB 332. 28170 - --- 23 474 $6 100
CA Sutter Creek. Amador CO. AC PO BOX 21"/, 95695 25.000 -- $0
CO Montrose Arts Council, PO BOX 2123~ 81401 ~!5.000 ~.g,
IA Storm Lake Area AC. 119 W 6th ST. SOSSa.Buena Vista ~!5.000 $0 !
-~
10 Sandpo/nt. PElnd Orall/a AC, flOB 1694, 83864-Bonnar 25.000 $0 .
CA Monterey, Colton Hall Museum City Hall, 93940.Montarev ~IO.OOO /t-{#. _
CO Durango Arts Canter 835 MaIn Ave #210. 81S01.La Plata 30 000 $5 700
CO Grand Junctlcln Commission on the Arts_and Culture 250 North 5th Street. 81501.Mesa S:O 000 -- $1,215
LA Jennings Jeff Davis AC POB 1 oee, 70546 ____JO,OOO $1,000
- . -
OH Jackson. Sou~hem Hills AC. Box 149,4564,0 ~ 30,OO(l 1'.# Ir
SO Brooklnas AC 524 4th ST, 57006 30,000 $19 000
UT Spri1gl/i1le AC 50 S. Main 30.000 $50,i)42 ,
- -........
rL Hlqhland Park Cultural Arts Commission, 1707 St. James Ave, 60035.Lake 30,1qr $16 000
UT Murray Arts Advisory Board 5025 S. State, 84107 32.000 $17.700
CT Trumbull Arts Commission. 5866 Main Street. OGG 11.Falrtleld 33 000 $24313
CA Manhattan Beach. City of, 1400 HiQhland Avenue, 90266-LA 35,000 $85,500 ,
TX Corslcana. Navarro Council ~f..t.he Arts POB .22.24, 751'0 39,735 $5,286 .
PA Newport. Perr[ CO Council for the Ans POB 354. 17074 41 000 ...- $875
OK Bartlesville, Alllad A&H Oouncll of, PCB 1027, 74005 ._ - - 42 000 $0 .
ID Idaho Falls Arts Council, 435 A Street. Idaho Falls. 8S402.Bonnev1ll9 43-,-000 $10000 I
~ 4.5.00~+=~~ ~~_ =- - ~-~JQj
CA Markssvilla. AI1S and Humanities Counoll of Avoyelles PO BO~ 328, ~51 -
CA Rancho Palos Verdes, City of Dagt of RecreatIon and Parks. 30940 t!~wthorne Blvd. 90274- 45,000 _ {4A_~
$D Aberdeen Area AC 401 N WashIngton, 57401-Brown - 415,000 $01
CO GJenwood SorlnCls Arts Council, BOX 1676. 81 G02.Garfleld /" 47000 $0 !
v -.- -. - ""';
KS Salina A&H Ctluncll, Box 21 ai, 67402:.2181 49,300 $159,572
AL Selma and Dallas County Council on the Arts. Inc., PO DraWer L City Hall 38702-0allas 50.000 $1 ~&i~1
CA Lakeoort, Lake Co AC. PO BOX 247.95453 50,000
NY Norwioh, Chenango CO Council of the Artl:127 W Main St, '3815 ~ 5'tlOa $300 I
-
IL MT, Prospect, Arts Council of 100 S. Emerson. 60056 53.000 SO!
~ - 53000. . I
OR BeavertonAO POB 4755, 97076-Washington . $42,000 !
--
VT Rutland. Crossroads AC 5 Court ST. 05701 . 55 000 $500
NE.iW Albanv, Floyd CO Council ft ArtS. 618 E Market St., 47150-Flovd -1"1'" $0 I
IN 60,000
NM Las Cruces, Dona Ana AC, 132 Las c.~es. eaOO1 60,000 .- $28,000 J .
NM Raton A&H Council. POB 774, 67740-Colfax 60 aOi I-'- - . ~
. f Totals: 1
ro r"a . r I ions
Per Capita City Appropriations to the Arts for LAAs Serving 60,000 or Less
City per capita app pri~s to the arts 10 popu at
GOtOOO and under was ~ This number reflects total
dollars appropriated by total population served.
iO.37
o
If 5 ? S,c/? f-
Source -- 1991 NALAA Survey
rylAY lc~ '92 11: 18AM NALAA hIASHnjGTOr~ DC
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r
Arts and letters..
Leftist academics assault the NEH . . .
The same people who brought political
correctness to American college
. campuses are now attacking the Na-
tional Endowment for the Humanities be-
cause the agency refuses to finance their
left-wing academic/activist agenda. .
A group called Teachers for a Democrat-
ic Culture is urging the Senate Labor Com-
mittee to delay consideration of eight Bush
administration nominees to the NEH advi-
sory council, saying that the appointments
would make the council too conservative.
Sen. Nancy Kassebaum, R-Kan., is a mem-
ber of the Senate committee.
One of the reasons the NEH has avoided
. the kind of controversy that has swirled
around its sister agency; the National En-
dowment for the Arts, is that NEH chair-
man Lynne Cheney recognizes that her
agency is to serve the public and not sur-
render to the latest academic fashion.
Indeed, most Americans would probably
read the TDC's indictment of the NEH as
evidence of the quality job Ms. Cheney is
doing. The Bush administration, the TDC
charges, is packing the NEB advisory. coun-
cil "with. opponents of feminism, multicul-
. turalism, deconstruction, and other new de-
velopments in the fieid."
In other words, the NEH has refused to
support professors who are trying to under-
mine the Western intellectual tradition and
pOliticize the campus by making the leftist
critique of gender, race and class the focal
pOint for curricula and research.
The stakes in the controversy are greater
than whether a particular professor gets a
government research gnmlThe issue is
whether American taxpayers are going to
subsidize the effort by campus leftists. to
dismantle the high standards of American
scholarship to advance their political goals.
Ms. Kassebaum and her colleagues on
the Senate Labor Committee should recog- .
nize the good work Ms. Cheney has done at
the NEB. They should confirm theadminis-
tration's NEH advisory council nominees
and uphold academic integrity on Ameri-
can campuses.
· · . while public gets voice at the NEA
The National Endowment for the Arts
finally has a leader who realizes her'
obligation is to the public, not to the
trendies in the U.S. arts community.
Testifying last week before. a congressio-
nal committee, acting NEA chairman Anne-
Imelda. Radice showed deep sensitivity for
public outrage over questionable grants the
agency has made in the past few years.
"If we find a proposal that does not have
the widest audience . . . even though it may
have been done very sincerely and with the
highest intentions, we just can't afford to
fund that," Ms. Radice said. "The concerns
of the taxpayers, the concerns of the Con-
gress .. '. have. as much weight" as artistic
merit .
Imagine, a' head of the NEA who. thinks
that the ,public should be considered .in
what artworks it is expected to subsidize.
That's a radical departure from outgoing
NEA chairman John Frohnmayer, who
seemed to think that the agency was a
servant of the arts crowd and should pro-
mote cutting edge art even if it offended
vast numbers of Americans.
Artists should be totally free to produce
whatever they want and to sell it to whom-
ever will buy it. The government, however,
has no business subsidizing avant-garde art
that repels most Americans - as many
NEA grant recipients intended their works
to do. That may mean government money
goes only to "safe" artists and artwork, but
50 be it. When pUblic money is involved,
populist tastes must be taken into account.
. Indeed, Ms. Radice should consider get-
ting the NEA out of the business of 5ubsidiz-
. ing individual artists and instead devote
more funding to recognized cultural trea-
sures, such as museums, theater groups and
galleries, that most Americans appreciate.
Also, more funding should go to state arts
councils, to help broaden American culture
and lessen the influence of New York City
on the nation's cultural life.
It will take time to clean out the stench
left at the NEA by Mr. Frohnmayer. But .
Ms. Radice is clearly a welcome breath of
fresh air. .
THE
SALINA
ARTS
AND
HUMANITIES
COMMISSION
211 W Iron · Box 2181 · Salina, KS 67402-2181 · 913-826-7410
POETRY SERIES '92 - EVALUATION
Word of Mouth
Flyer
Poster
Newspaper
Radio
WEEK ONE
18
12
5
1 3
2
COMMENTS: Poster is beautiful! I'm really happy the series continues with quality and quantity! I come
to this every year. I enjoyed the cozy environment. Great idea, great place! Too long, high-brow
discussion ruins appreciation. However, poetry had great imagery.An enjoyable evenin~l. Gutierrez was
a great idea! I wait for this every year and get "bummed out" if I have to miss one or more.
WEEK TWO
17
22
18
11-article ;11-ad
2
COMMENTS: The season is too short! These readings provide a lovely break from my mail-order
exorcism course. Cool! I enjoyed Tom Sleigh last week--am looking forward to the whole series.
Nicholas' poetry showed deep philosophy; each poem containing a single semi-hidden theme, very
interesting. Only improvement would be to shorten session. Entertaining-kept my attention well. Wished
he'd had more time--didn't want him to stop. Plan to get his book. Wonderful experience! Stimulating,
thought-provoking! I like the format very much AND the location! Lots of enthusiasm when telling his
stories. Gould see alot of emotion. Session following the first will be hard to beat. Enjoyed the
discussion afterward...poems make so much more sense when explained by the poet.
WEEK 'THREE
14
1 1
14
a-article; 7 -ad
4
/'
COMMENTS: Good format, good location. Very interesting! It's too bad that child abuse can go so long
without being addressed. Excellent; good poems, kept on time. Good speaker. Like the s'ettings for
poetry re,adings at Gutierrez. Tonight's reading has been one of the most powerful yet. The discussion
afterwards is most helpful.
WEEK IFOUR
1
1
3
24
1 1
COMMENTS: I felt that the setting was very comfortable, please have it here again next year. The
readings opened my eyes to the presence of these p'oets. Gutierrez is probably a good place for the
readings..-the large crowd suggests that it is. But the location is not especially important to me--so
long as it is accessible and unintimidating. Just don't have the readings at the Country Club or the Art
Center. Is there no chance of giving student writers at Kansas Wesleyan better access to the visiting
poets? Would they have an hour in the afternoon to visit a class or a meeting of the KW Writers' Club?
Stature of poets better this year. Goedicke is one of the best readers anywherenand has wonderful
energy that is in the poem. Bring her back! Perhaps you could invite some regional midwestern poets to
read. Would like to have a more laid-back atmosphere than a bar! I'd rather hear the poets speak, than
discussion. Some discussions were better than others. Would rather not have to sit in room with people
smoking.
TOTALS
50
46
40
19-article
18-ad
74-total
19
Betsy Poer, Chair / Paula Wright, Vice-Chair / Nancy Hodges, Secretary-Treasurer
Sarabeth Gds, Randy Graham, Ann Rollins, Ned Rose, Clay Thompson, Joe Warner, Jane Weathers
Martha Rhea. Executive Director
4
. -
"
ARTS AND HUMANmES · SMOKY Hill MUSEUM
Smoky Hill Museum Building · 211 West Iron . Box 2181
Salina, Kansas 67402-2181
TELEPHONE (913) 826-7410 · FAX (913) 826-7207
Salina
~
~ilr
MEMO
TO:
FROM:
DATE:
RE:
Salina City Commission
Salina Arts and Humanities Commission/Museum Committee
May 15, 1992
Future Funding Needs of the Smoky Hill Museum
The Smoky Hill Museum is completing the first phase of a long
range plan which will establish a vision for the future of the organization.
Through a process of defining the museum's mission, a planning committee
identified four major goals to provide a clear sense of direction.. Task
forces have analyzed these areas over the past few months and a number
of strategies and recommendations have been outlined.
finalize the
thereafter.
A second phase in June will prioritize the objectives and
planning document. Implementation is expected to begin shortly
The following is a brief overview of each goal:
1. Increase public awareness and improve the museum's public image
Although the museum has been open for more than five years, many people
in the area have little knowledge of the organization. A comprehensive
marketing plan is recommended to include new signage, graphics and
publications along with cooperative marketing projects to reach a wider
audience.
2. Develop a comprehensive educational programming plan for the Smoky
Hill Museum
Most of the programming done by the museum is for the adult audience.
Many of the recommendations deal with establishing broad based projects
.
\..,
such as traveling trunks, resource packets, and hands-on activities
for' various school age groups in the classroom and at the museum. Older
adults, minorities, and teachers are also to be targeted for specific
programs.
3. Establish a strong and effective Friends organization; ensure ongoing
dedicated volunteer support
Cur'rently there is a twofold level of private assistance for the Museum:
thE~ Friends of the Smoky Hill Museum and the volunteers. The Friends
provide advocacy and monetary support for various projects and programs.
ThE~ir future role will be expanded in order to strengthen public/private
funding partnerships needed for future growth of the museum. Museum
vo 11 unteers contri bute thousands of hours on many 1 eve 1 s withi n the
museum. The suggested strategies for a more comprehensive volunteer
program include recruitment, training, and placement of people.
4. Establish comprehensive collections/exhibitions programs
A major portion of the museum's work is preserving the history of the
area by collecting artifacts and interpreting them through exhibits.
Of importance here is the ongoing care and documentation of the collections
while expanding the number of artifacts taken in. Also many exhibit
related issues are under consideration including how many to schedule,
long-term/temporary use of spaces, and cost.
Several common threads run throughout the goals set forth.
The Cii~ plays a vital role in maintaining the basic general operating
support for the museum. Increased funding for the basics will be requested
each year in order to implement many of the proposed recommendations. This
includes a full complement of staff, i.e., a ful~ time the Curator of Collections,
a full time educator, and part time volunteer coordinator. Also dollars
are neE!ded for ongoing contract staff for design, marketing, carpentry,
and special projects that occur on a regular basis.
The museum realizes the importance of the continuing private
partnerships which need to be developed. Inroads have been made in this
.
area through the Friends of the Smoky Hill Museum, but a more substantial
long range development program is being discussed and its implications
are key to the growth of the Museum. Traditionally most of the dollars
have come from the City. Development of a broad based financial plan will
eXplOrE! not only the future role of the City, but also that of the private
sector.
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