Santa Clarita City Council
August 23, 2022

NOTICE INVITING PROPOSALS
Santa Clarita Museum and
Cultural Center Feasibility
Study
PROPOSAL # REC‐21‐22‐42

TABLE OF CONTENTS

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California

SECTION A
NOTICE INVITING PROPOSALS
PROPOSAL INSTRUCTIONS
DOCUMENT CHECKLIST

SECTION B
SCOPE OF WORK
RESPONSE FORMAT AND SELECTION CRITERIA

SECTION C
NOTICE TO PROPOSERS REGARDING CONTRACTUAL REQUIREMENTS
DESIGNATION OF SUBCONTRACTORS/SUBCONSULTANTS

REFERENCES
ACKNOWLEDGEMENT AND ACCEPTANCE OF SCOPE OF WORK

SECTION D
SAMPLE PROFESSIONAL SERVICES AGREEMENT
PROFESSIONAL SERVICES AGREEMENT CONTRACT PROVISIONS

SUBCONTRACTOR  CLAUSES

EXHIBIT A
2016 ARTS MASTER PLAN

SECTION A
RFP Information & Instructions

CITY OF SANTA CLARITA NOTICE INVITING PROPOSALS

Project Name:     Santa Clarita Museum and Cultural Center Feasibility Study

Proposal #:      REC‐21‐22‐42

Last Day for Questions: June 20, 2022 before 11:00 AM PDT

Proposal Closing:  June 28, 2022 before 11:00 AM PDT

Estimated Contract  $80,000
Value:

Project Description:  The City of Santa Clarita is seeking a qualified consultant to prepare a
feasibility study to determine the best focus, size, and location for a combination museum and cultural center that will be used as a venue to celebrate the history and heritage of the Santa Clarita Valley.

Prevailing Wage:   No

Bond Requirements:  No

Contact Information:  Jonathan
Cosh | (661)286‐4187 | jcosh@santa‐clarita.com

Prevailing  Wage  Monitoring:  This  Project  is  subject  to  prevailing  wage  compliance  monitoring  and enforcement by the Department of Industrial Relations.

Required Contractor & Subcontractor Registration: Only bids submitted by bidders (along with all listed subcontractors) that are currently registered and qualified to perform public work pursuant to Labor
Code Section 1725.5 will be accepted.

Specifications for this request for proposals (RFP) may be downloaded from the City’s Purchasing website at: www.bidnetdirect.com//cityofsantaclarita. Please refer to specifications for complete details and RFP requirements. The specifications in this notice shall be considered a part of any contract made pursuant thereto. A paper copy of the RFP documents is available upon request in the City Clerk’s office, suite 120.

RFP Questions must be submitted electronically via the BidNet “Question and Answer” tab.

Addenda, if issued by the CITY, will be transmitted on BidNet. Addenda must be digitally acknowledged
via BidNet in addition to a printed and signed version submitted with the proposal response. If addenda are  not  signed  and  submitted  with  the  proposal  response,  the  submission  may  be  deemed  non‐ responsive and rejected.

Dates Published: May 24, 2022

PROPOSAL INSTRUCTIONS

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum And Cultural Center Feasibility Study City of Santa Clarita, California

1. SUBMITTING PROPOSALS.

1.1. The  response  must  be  submitted  on  this  form  and  include  all  forms  provided  or  information requested or required by the scope of work or specifications, (uploaded via BidNet).

1.2. All documentation of unit pricing or other cost breakdowns as outlined in this proposal must be submitted to support the total proposed price.

1.3. Proposals/corrections received after the closing time will not be accepted.  The City will not be responsible for proposals not properly or timely, uploaded.  Upon award, all submissions become a matter of public record.

2. ADDENDA.  The City will not accept responsibility for incomplete packages or missing addenda.  It is the vendor’s responsibility to monitor BidNet for release of the addenda prior to submission of the quote  to  make  certain  the  package  is  complete  and  all  required  addenda  are  included.  This information will be available via BidNet.  Vendors are cautioned against relying on verbal information in the preparation of proposal responses.   All official information and guidance will be provided as part of this solicitation or written addenda.  Addenda, if issued by the Agency, will be transmitted via BidNet. Addenda must be digitally acknowledged through BidNet in addition to a printed and signed version  submitted  with  the  proposal.  If  addenda  are  not  signed  and  submitted  with  the  proposal response, the proposal may be deemed non‐responsive and rejected.

3. AWARDS.

3.1. The City reserves the right to waive any informality in any proposal.

3.2. This RFP does not commit the City to award a contract, or to pay any amount incurred in the preparation of the proposal.  The City reserves the right to accept or reject all proposals received as a result of this request, to negotiate with any qualified consultant, or to cancel this RFP in part or in its entirety.  The City may require the selected consultant to participate in negotiations and to submit such technical, price, or other revisions of the proposal as may result from negotiations.

The City reserves the right to extend the time allotted for the proposal, and to request a best and final offer, should it be in its best interest to do so.

3.3. The proposal may be awarded in its entirety as proposed; however, the City reserves the right to award elements of the work, independently, and to do portions “in‐house.” Additionally, the City reserves the right to award subsequent work on this project based on information presented in this proposal, without recourse to a separate or subsequent RFP process, should it be in its best interest to do so.

3.4. The City may make an award based on partial items unless the proposal submitted is marked “All

or none.” Where detailed specifications and/or standards are provided the City considers them to be material and may accept or reject deviations. The list of proposals submitted will be posted on BidNet, normally within 24 hours.

3.5. Proposer shall honor proposal prices for One‐Hundred and Twenty Days (120 days) or for the stated contract period, whichever is longer.

4. BRAND NAMES, ALTERNATIVES, OR EQUIVALENTS.

4.1. The use of the name of a manufacturer, or any specific brand or make, in describing any item contained in the solicitation document does not restrict vendors to the manufacturer or specific article, this means is being used simply to indicate a quality and utility of the article desired; but the goods on which bids/quotes/proposals are submitted must in all cases be equal in quality and utility to those referred to. This exception applies solely to the material items in question and does not supersede any other specifications or requirements cited. Materials differing from stated  specifications  may  be  considered,  provided  such  differences  are  clearly  noted  and described, and provided further that such articles are considered by a City official to be in all essential respects in compliance with the specifications.

4.2. If you plan on bidding/quoting/submitting a proposal with an alternative or equivalent product please  provide  the  cut  sheet/spec  sheet  or  detailed  product  description  for  the  proposed product via the BidNet Q&A section.  For each product proposed documentation provided must include a description reflecting the characteristics and level of quality that will satisfy the salient physical,  functional,  or  performance  characteristics  of  “equal”  products  specified  in  the solicitation.   The  proposal  must  also  clearly  identify  the  item  by  brand  name  (if  any),  and make/model  number.   In  addition,  the  proposal  may  include  descriptive  literature  such  as illustrations,  drawings,  or  a  clear  reference  to  previously  furnished  descriptive  data  or information  available  to  the  City,  and  clearly  describe  any  modifications  the  offeror  plans  to make in a product  to  make  it conform  to  the solicitation requirements.   Staff will provide an answer via BidNet if the proposed product will be considered.

4.3. Any  alternatives  or  equivalent  product  proposals  must  be  made  prior  to  the  last  day  for questions.   The  City  has  the  option  of  accepting  or  rejecting  any  alternative  or  equivalent product.  Exception  is  made  on  those  items  wherein  identical  supply  has  been  determined  a necessity and the notation NO SUBSTITUTE has been used in the specification section.

5. COOPERATIVE BIDDING. Other public agencies may be extended the opportunity to purchase off this solicitation with the agreement of the successful vendor(s) and the City. The lack of exception to this clause  in  vendor's  response  will  be  considered  agreement.   However,  the  City  is  not  an  agent  of, partner to or representative of these outside agencies and is not obligated or liable for any action or debts that may arise out of such independently negotiated "piggy‐back" procurements.

6. DELIVERY.  Unless otherwise specified, delivery shall be D.D.P., the City of Santa Clarita, site of user division and contract delivery may begin no later than fifteen (15) calendar days from receipt of order.

7. INVOICES.  Invoices will be forwarded to:

City of Santa Clarita
CD ‐ Economic Development
Attn: Phil Lantis
23920 Valencia Blvd. Ste. 295
Santa Clarita, CA 91355‐2196

Invoices will reflect the purchase order # and goods or service delivered in accordance with the terms of the contract.  Invoice processing begins on receipt of the material or invoice, whichever is later.

8. DEPARTMENT  OF  INDUSTRIAL  RELATIONS  REQUIREMENTS.  No  proposer  or subcontractor/subconsultant may be listed on a bid proposal for a public works project (submitted on or  after  March  1,  2015)  unless  registered  with  the  Department  of  Industrial  Relations  pursuant  to Labor Code Section 1725.5 [with limited exceptions from this requirement for proposal purposes only under Labor Code Section 1771.1(a)]. No proposer or subcontractor/subconsultant may be awarded a  contract  for  public  work  on  a  public  works  project  (awarded  on  or  after  April  1,  2015)  unless registered with the Department of Industrial Relations pursuant to Labor Code Section 1725.5. This project  is  subject  to  compliance  monitoring  and  enforcement  by  the  Department  of  Industrial Relations.

9. PREPARATION. All proposals and required forms must be uploaded as laid out in the BidNet General Attachments Section.

10. REJECTION.  The City reserves the right to reject any or all proposals and to waive any informality in any proposal. The City may reject the proposal of any vendor who has previously failed to perform properly, or complete on time, contracts of a similar nature, or to reject the proposal of a vendor who is not in a position to perform such a contract satisfactorily.  The City may reject the proposal of any vendor who is in default of the payment of taxes, licenses or other monies due to the City of Santa Clarita.

11. SUBCONTRACTORS. For all projects, the vendor must list any subcontractors/subconsultants that will be used, the work to be performed by them, and total number of hours or percentage of time they will spend on the project.

Each proposer must submit with their proposal the following:
 The Full name of each subcontracting firm as required by Government Code, Sec. 4201, typed or legibly printed.
 The address of each firm.
 The telephone number at the place of business.
 Work to be performed by each subcontracting firm.
 Total approximate dollar amount of each subcontract.
 If  sub‐contractor  is  participating  as  a  Disadvantaged  Business  Enterprise  (DBE),  the  following additional information is required on the "Designation of Subcontractors" form enclosed:
 Status as a DBE, age of the firm and the annual gross receipts.  Submit  the  "Designation  of  Subcontractors"  form  enclosed  herewith.  No  Contract  shall  be considered unless such list is submitted as required.

Copies of subcontracts will be provided to the City Engineer upon their request.

12. TERMINATION.  The City may terminate any purchase, service or contract with or without cause either verbally or in writing at any time without penalty.

The City of Santa Clarita’s “Terms and Conditions” is found on a separate attachment in BidNet.

DOCUMENTS CHECKLIST

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum And Cultural Center Feasibility Study City of Santa Clarita, California

In addition to the items requested for the proposal the following documents are required to be completed and submitted by the proposer.

The following documents must be provided by ALL proposers:

Uploaded via BidNet (see Section C)
 Response File
 Cost File (to be submitted separately from Response File)  Notice to Proposers Regarding Contractual Requirements  Designation of Subcontractors/Subconsultants
 References
 Acknowledgement and Acceptance of Scope of Work
 All signed addendums (if any) – Digitally acknowledged on BidNet in addition to uploaded via BidNet

The following documents must be provided by the AWARDEE ONLY (With Agreement) Delivered to City Hall, Attn: Phil Lantis
 Professional Services Agreement
 Insurance Required by Contract
 W‐9 Form

SECTION B
Solicitation Information

SCOPE OF WORK

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California

EVENT   DATE
Solicitation advertisement  May 24, 2022
Last day for questions  June 20, 2022
Return of proposals  June 28, 2022
Evaluations of proposals  June 29 ‐ 15, 2022
Interviews (if necessary)  July 14 ‐ 21, 2022
Contract award  August 23, 2022
Project Completion Date  Spring 2023

*Dates are subject to change at the City’s discretion*

The  City  of  Santa  Clarita  requests  proposals  for  the  following  purpose  according  to  the  terms  and conditions attached.  In the preparation of this request for proposal the words “bidder”, “contractor”, and “consultant” are used interchangeably.

1. Purpose:

The  City  of  Santa  Clarita  is  seeking  a  qualified  consultant  to  prepare  a  feasibility  study  to determine the best focus, size, and location for a combination museum and cultural center that will  be  used  as  a  venue  to  celebrate  the  history  and  heritage  of  the  Santa  Clarita  Valley.  The consultant will utilize community input to develop a plan that will serve as a guiding document for City Council, the Arts Commission, City staff, and the community. The plan should clearly state the strategies that will be used to manage the project as well as a plan of operation.

2. Introduction and Background:

Throughout its history, the City of Santa Clarita has been committed to providing its residents with opportunities to learn about the history of the Santa Clarita Valley and to celebrate the numerous cultures that are currently and have been part of the heritage of the community. In the 2016 Arts Master  Plan,  the  City  emphasized  an  interest  in  exploring  the  development  of  a  museum, potentially in the Old Town Newhall Arts and Entertainment District. This interest has expanded to include the desire to see the museum work in tandem with a cultural center, which will allow for the facility to not only offer displays of historic and heritage works, but to also serve as a hub for  cultural  events,  presentations,  and  organizations.  The  addition  of  a  museum  and  cultural center  would  fulfill  the  City’s  desire  to  showcase  the  community’s  rich  history  and  cultural heritage and celebrate the diversity of the Santa Clarita Valley.

3. Work Statement:

The City is looking for a consultant that will gather input from City Council, City leadership, the Arts  Commission,  and  the  public  to  identify  potential  locations,  appearance,  and  focus  of  a museum  and  cultural  center  that  will  present  displays  of  artistic  and  cultural  works  and  host performances, presentations, meetings, and other public functions. The consultant will submit a planning process that will include details of the operation as well the management agenda.

4. Objective(s)/Work Products:

The final product will be a combination museum and cultural center to present displays and host performances,  presentations,  meetings,  and  other  public  functions.  It  is  expected  that  the feasibility study will be completed nine months from the project start date.

5. Required Qualifications:

The  City  of  Santa  Clarita  is  seeking  a  consultant  who  has  previous  experience  in  designing, managing, and contracting museums and cultural centers comparable to this desired facility. The City expects the consultant to prepare a comprehensive proposal with recommendations, actions, and procedures to accomplish the items set forth above. As this is a large project it is expected that the candidate has experience in all of the areas mentioned previously.

6. Time Schedule:

The anticipated schedule for the amphitheater feasibility study development is as follows:

August 2022‐ Consultant hired
September  2022 ‐   Initial  meetings  with  consultant  and  staff  to  review  documentation  and expectations and finalized timeline.

7. Response Submittal Requirements:
(a) CONTENTS OF PROPOSAL
Submitted  proposals  must  follow  the  outline  below  and  all  requested  information  must  be supplied.  Failure  to  submit  proposals  in  the  required  format  may  result  in  elimination  from proposal evaluation.

Proposal Format
Each proposal must be submitted in two parts.

A. PART I: RESPONSE FILE
i. Cover letter‐ Include the name, address, and telephone number of the company, and be signed by the person or persons authorized to represent the firm. ii. Table of Contents‐ Clearly identify material contained in the proposal by section and page number.

iii. Introduction – History of the contacting company as it applies to this project. iv. Work  Proposal‐  Provide  a  detailed  description  of  the  approach  that  will  be  used  to efficiently complete this project in the allotted time. Identify the resources necessary to complete the assignment, and make clear requests for assistance from City personnel and their respective departments.
v. Statements of Qualifications‐ Provide a history of past work experience as it is directly applicable to this experience.
vi. References‐ Include examples of similar projects and other agencies for which a project was completed. Provide a contact person for each agency and project of similar nature. vii. Assigned Personnel‐ Identify the staff exclusive to the contracting company who will be responsible  for  the  planning  and  completion  of  this  project.  Detail  each  individual’s experience as it relates to this project and a description of the projects in which they have previously assisted with.
viii. City  Resources‐  Identify  the  City  services  and  staff  resources  needed  to  supplement contractor activities in order to achieve the identified objective. ix. Subcontractor(s) ‐ If subcontractors are to be used it is expected that a complete history and  list  of  their  assigned  staff  is  also  submitted.  The  list  should  include  staff,  their qualifications, and relationship to management, schedule, costs, and hourly rates. x. Additional Data‐ Provide other essential information that may assist with the evaluation of this submission.

B. PART II: COST PROPOSAL
The cost proposal MUST be submitted separately than the Response File. It must be submitted in its own envelope in the following format:

Name and Address‐ the Cost Proposal must list the name and the complete address of the bidder in the upper, left hand corner.

Cost Proposal‐ The Cost/Price format for the proposal must be as follows:

Total cost must be clearly indicated at the end of the Cost Proposal.

Costs must include a breakdown by the following categories:
i. Labor  –  List  and  hourly  labor  rate.  List  general  administrative  and  overhead  costs separately.
ii. Supplies and/or Equipment‐ Provide an itemized list of supplies to be used. The City will NOT pay for any supplies unless adequately justified. In the event that the City pays for any equipment, it becomes the City’s property.
iii. Subcontractor Costs‐ Identify subcontractors by name, list their cost per hour or day, and the number of hours or days their services will be used.

iv. Travel  Costs‐  Identify  estimated  travel  costs,  including  the  number  of  trips  required, destinations,  and approximate  cost of travel. Travel costs are reimbursed at  prevailing rates  for  the  contracting  company  OR  City  rates,  whichever  is  lower  unless  otherwise negotiated.
v. Miscellaneous Costs, if any‐ list all miscellaneous costs, which must be on a separate list from the items i‐iv above.

Charges for supplies, equipment, and subcontractors will be paid at cost. It is expected that general, overhead, and administrative costs are included in the hourly rate for labor. Bids submitted will be held to the total cost given in the response quote. It will be assumed that all contingencies and/or anticipated escalations are included. No additional funds will be paid above and beyond the original quote given by the selected bidder.

8. SELECTION CRITERIA:

The overall criteria are listed below. As proposals are considered by the City to be more equal in their technical merit, the evaluated cost or price becomes more important so that when technical proposals are evaluated as essentially equal, cost or price may be the deciding factor.

1.1. SCORING CRITERIA:

1.1.1. Contractor qualifications, Plan of Study/Scope of Work, Program Management

1.1.2. Experience on similar projects

1.1.3. Thoroughness of proposal, approach to providing sound services, and ability to provide services  to meet objectives and standards

1.1.4. Cost of materials and services provided as well as discounts offered

1.2. During the selection process, the evaluation panel may wish to interview bidders with scores above  a  natural break. Should an interview process take place, the results of the interview will carry greater weight  in the selection process. The City reserves the right to make a selection solely on the basis of the proposals without further contact.

SECTION C
Forms

NOTICE TO PROPOSERS REGARDING CONTRACTUAL REQUIREMENTS

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California

1. SUMMARY OF CONTRACTUAL REQUIRMENTS
a. A contract is required for any service performed on behalf of the City of Santa Clarita (City).

b. By submitting a proposal, you have reviewed the sample contract documents contained within this request for proposals and agree to be bound by the requirements set forth.

c. Questions and requests for modification of these terms must be negotiated and approved prior to proposal submission and are at the full discretion of the City.

2. SUMMARY OF INDEMNITY AND INSURANCE REQUIREMENTS
a. These are the Indemnity and Insurance Requirements for Contractors providing services or supplies to City of Santa Clarita (City). By agreeing to perform the work or submitting a proposal, you verify that you comply with and agree to be bound by these requirements. If any additional Contract documents are executed, the actual Indemnity language and Insurance Requirements may include additional provisions as deemed appropriate by City’s Risk Manager.

b. You should check with your Insurance advisors to verify compliance and determine if additional coverage or limits may be needed to adequately insure your obligations under this agreement. These are the minimum required and do not in any way represent or imply that such coverage is sufficient to adequately cover the Contractor’s liability under this agreement. The full coverage and limits afforded under Contractor’s policies of Insurance shall be available to Buyer and these Insurance Requirements shall not in any way act to reduce coverage that is broader or includes higher limits than those required.

The Insurance obligations under this agreement shall be: 1—all  the Insurance coverage and limits carried by or available to the Contractor; or 2—the  minimum Insurance requirements shown in this agreement, whichever is greater. Any insurance proceeds in excess of the specified minimum limits and coverage required, which are applicable to a given loss, shall be available to City.

c. Contractor shall furnish the City with original Certificates of Insurance including all required amendatory endorsements and a copy of the Declarations and Endorsement Page of the CGL policy listing all policy endorsements to City before work begins. City reserves the right to require full‐certified copies of all Insurance coverage and endorsements.

3. INDEMNIFICATION
a. To the fullest extent permitted by law, CONSULTANT shall defend (with legal counsel reasonably acceptable to CITY), indemnify and hold harmless CITY and its officers, agents, departments, officials, representatives and employees (collectively “Indemnitees”) from and against any and all claims, loss, cost, damage, injury (including, without limitation, economic harm, injury to or death of an employee of CONSULTANT or its subconsultants), expense and liability of every kind, nature and description that

arise from or relate to (including, without limitation, incidental and consequential damages, court costs, attorneys’ fees, litigation expenses and fees of expert consultants or expert witnesses incurred in connection therewith and costs of investigation) that arise from or relate to, directly or indirectly, in whole or in part, from:  (1) CONSULTANT’s performance of Services under this Agreement, or any part thereof; (2) any negligent act or omission of CONSULTANT, any subconsultant, anyone directly or indirectly employed by them, or anyone that they control; (3) any actual or alleged infringement of the patent rights, copyright, trade secret, trade name, trademark, service mark or any other intellectual or proprietary right of any person or persons in consequence of the use by CITY, or any other Indemnitee, of articles or Services to be supplied in the performance of this Agreement; or (4) any breach of this Agreement (collectively “Liabilities”).  Such obligations to defend, hold harmless and indemnify any Indemnitee shall not apply to the extent such Liabilities are caused by the sole negligence or willful misconduct of such Indemnitee, but shall apply to all other Liabilities.  The foregoing shall be subject to the limitations of California Civil Code section 2782.8 as to any design professional services performed by CONSULTANT and in particular the limitation on CONSULTANT’s duty to defend whereby such duty only arises for claims relating to the negligence, recklessness or willful misconduct of CONSULTANT  as well as the limitation on the cost to defend whereby CONSULTANT will only bear such cost in proportion to CONSULTANT’s proportionate percentage of fault (except as otherwise provided in section 2782.8).

b. The foregoing indemnification provisions will not reduce or affect other rights or obligations which would otherwise exist in favor of the CITY and other Indemnitees.

c. CONSULTANT shall place in its subconsulting agreements and cause its subconsultants to agree to indemnities and insurance obligations in favor of CITY and other Indemnitees in the exact form and substance of those contained in this Agreement.

4. INSURANCE
a. Before commencing performance under this Agreement, and at all other times this Agreement is effective, CONSULTANT will procure and maintain the following types of insurance with coverage limits complying, at a minimum, with the limits set forth below:

Type of Insurance     Limits
Commercial general liability:   $1,000,000
Professional liability     $1,000,000
Business automobile liability   $1,000,000
Workers compensation   Statutory requirement

b. Commercial general liability insurance will meet or exceed the requirements of ISO‐CGL Form No. CG 00 01 11 85 or 88.  The amount of insurance set forth above will be a combined single limit per occurrence for bodily injury, personal injury, and property damage for the policy coverage.   Automobile coverage will be written on ISO Business Auto Coverage Form CA 00 01 06 92, including symbol 1 (Any Auto).  Liability policies will be endorsed to name CITY, its officials, and employees as “additional insureds” under said insurance coverage and to state that such insurance will be deemed “primary” such that any other insurance that may be carried by CITY will be excess thereto.  Such endorsement must be reflected on ISO Form No. CG 20 10 11 85 or 88, or equivalent.  Such insurance will be on an

“occurrence,” not a “claims made,” basis and will not be cancelable or subject to reduction except upon thirty (30) days prior written notice to CITY.

c. Professional liability coverage will be on an “occurrence basis” if such coverage is available, or on a “claims made” basis if not available.  When coverage
is provided on a “claims made basis,” CONSULTANT
will continue to renew the insurance for a period of at least three (3) years after this Agreement expires or is terminated.  Such insurance will have the same coverage and limits as the policy that was in effect during the term of this Agreement, and will cover CONSULTANT for all claims made by CITY arising out of any errors or omissions of CONSULTANT, or its officers, employees or agents during the time this Agreement was in effect.

d. CONSULTANT will furnish to CITY duly authenticated Certificates of Insurance evidencing maintenance of the insurance required under this Agreement, including endorsements, and such other evidence of insurance or copies of policies as may be reasonably required by CITY from time to time.  Insurance must be placed with California‐admitted insurers with (other than workers compensation) a current A.M. Best Company Rating of at least “A:VII.”

e. Waiver of Subrogation: The insurer(s) agree to waive all rights of subrogation against CITY, its elected or appointed officers, officials, agents, volunteers and employees for losses paid under the terms of the workers compensation policy which arise from work performed by CONSULTANT for CITY.

f. Should CONSULTANT, for any reason, fail to obtain and maintain the insurance required by this Agreement, CITY may obtain such coverage at CONSULTANT’s expense and deduct the cost of such insurance from payments due to CONSULTANT under this Agreement or terminate pursuant to TERMINATION section.  In the alternative, should CONSULTANT fail to meet any of the insurance requirements under this Agreement, City may terminate this Agreement immediately with no penalty.

g. Should CONSULTANT’S insurance required by this Agreement be cancelled at any point prior to expiration of the policy, CONSULTANT must notify City within 24 hours of receipt of notice of cancellation.  Furthermore, CONSULTANT must obtain replacement coverage that meets all contractual requirements within 10 days of the prior insurer’s issuance of notice of cancellation.  CONSULTANT must ensure that there is no lapse in coverage.

h. The CITY shall be entitled to any coverage in excess of the minimums required herein.

I have read and understand the above requirements and agree to be bound by them for any work performed for the City.

Authorized Signature: ______________________________ Date: ___________________

Printed Name: ____________________________________

DESIGNATION OF SUBCONTRACTORS/SUBCONSULTANTS

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California

The City of Santa Clarita has adopted a Disadvantaged Business Enterprise (DBE) Program to support federally funded procurements. The City strongly encourages the participation of small and Disadvantaged Business Enterprises in its federally funded projects and this site is intended to provide assistance to such businesses.  Listed below are the names and locations of the places of business of each subcontractor, supplier, and vendor who will perform work or labor or render service in excess of ½ of 1 percent, or $10,000 (whichever is greater) of the prime contractor's total bid: DBE status, age of firm and annual gross receipts are required if sub‐contractor is participating as a DBE. If no Subcontractors will be used fill out the form with NA.   Please add additional sheets if needed.

Subcontractor

DIR Registration No.  Dollar Value of Work

Age of firm:

DBE:      Yes      No
Certifying Agency:

Annual Gross Receipts:

Location and Place of Business

Bid Schedule Item No’s:  Description of Work
License No.

Exp. Date:       /       /  Phone (     )
Subcontractor

DIR Registration No.  Dollar Value of Work

Age of firm:

DBE:      Yes      No
Certifying Agency:

Annual Gross Receipts:

Location and Place of Business

Bid Schedule Item No’s:

Description of Work
License No.

Exp. Date:       /       /  Phone (     )
Subcontractor

DIR Registration No.  Dollar Value of Work

Age of firm:

DBE:      Yes      No
Certifying Agency:

Annual Gross Receipts:

Location and Place of Business

Bid Schedule Item No’s:  Description of Work
License No.

Exp. Date:       /       /  Phone (     )
NOTE:  A contractor or subcontractor shall not be qualified to propose on, be listed in a proposal, subject to the requirements of Section 4104 of the Public Contract Code, or engage in the performance of any contract for public work, as defined in this chapter, unless currently registered and  qualified  to  perform  public  work  pursuant  to  Section  1725.5  of  the  Labor  Code.  It  is  not  a  violation  of  this  section  for  an  unregistered contractor to submit a proposal that is authorized by Section 7029.1 of the Business and Professions Code or by Section 10164 or 20103.5 of the Public Contract Code, provided the contractor is registered to perform public work pursuant to Section 1725.5 of the Labor Code at the time the contract is awarded.

REFERENCES

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California

The following are the names, addresses, and telephone numbers of three public agencies for which proposer has performed work of a similar scope and size within the past 3 years. If the instructions on this form conflict with the references requested in the scope of work, the scope of work shall govern. Complete this form out accordingly. Fill out this form completely and upload it with your proposal.

1.  __________________________________________________________________________________ Name and Address of Owner / Agency

__________________________________________________________________________________ Name and Telephone Number of Person Familiar with Project

__________________________________________________________________________________ Contract Amount  Type of Work  Date Completed

2. __________________________________________________________________________________ Name and Address of Owner / Agency

__________________________________________________________________________________ Name and Telephone Number of Person Familiar with Project

__________________________________________________________________________________ Contract Amount  Type of Work  Date Completed

3.  __________________________________________________________________________________ Name and Address of Owner / Agency

__________________________________________________________________________________ Name and Telephone Number of Person Familiar with
Project

__________________________________________________________________________________ Contract Amount  Type of Work  Date Completed

The following are the names, addresses, and telephone numbers of all brokers and sureties from whom Proposer intends to procure insurance bonds:
_____________________________________________________________________________________

_____________________________________________________________________________________}

ACKNOWLEDGEMENT & ACCEPTANCE OF SCOPE OF WORK

PROPOSAL # REC‐21‐22‐42
Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California

By providing the three (3) required signatures below, the Contractor acknowledges full understanding, complete agreement to, and accepts in its entirety, all Scope of Work for the Santa Clarita Museum and Cultural Center Feasibility Study. The Contractor will be expected to perform maintenance practices and uphold the standards herein to the established Scope of Work  throughout the length of the contract.

*Supervisor’s Signature:___________________________________________Date:__________

*Estimator’s Signature:____________________________________________Date:__________

*Owner’s Signature:______________________________________________Date:__________

*All three signatures required

SECTION D
Sample Contract

SAMPLE ONLY

CON-6
Council Approval Date:________
Agenda Item: ________
Contract Amount:________

PROFESSIONAL SERVICES AGREEMENT

BETWEEN

THE CITY OF SANTA CLARITA AND

FOR

This AGREEMENT by and between the CITY OF SANTA CLARITA, a municipal corporation and general law city (“CITY”) and _______________________________________, a ________________________________________________________ (“CONSULTANT”), and is dated ________________________.

1. CONSIDERATION.
(A) As partial consideration, CONSULTANT agrees to perform the Services listed in the SCOPE OF SERVICES, below; and
(B) As additional consideration, CONSULTANT and CITY agree to abide by the terms and conditions contained in this Agreement; and
(C) As additional consideration, CITY agr ees to pay CONSULT ANT a sum not to exceed
dollars ($ ) for CONSULTANT’s Services. CITY may modify this amount as set forth below. Unless otherwise specified by written amendment to this Agreement, CITY will pay this sum as specified in the attached Exhibit(s) “ ” which is/are incorporated by reference.

2. SCOPE OF SERVICES.
(A) CONSULTANT will perform Services listed in the attached Exhibit(s) “ ” which is/are incorporated by reference.
(B) CONSULTANT will, in a professional manner, furnish all of the labor, technical, administrative, professional and other pe rsonnel, all supplies and materials, equipment, printing, vehicles, transporta tion, office space and facilities, and all tests, testing and analyses, calculation, a nd all other means whatsoever, except as herein otherwise expressly specified to be furnished by CITY, necessary or proper to perform and complete the Services and provide the professional Services required of CONSULTANT by this Agreement.

3. PERFORMANCE STANDARDS.
(A) By executing this Agreement, CONSULTANT represents that it has demonstrated trustworthiness and possesses the quality, fitness and capacity to perform the Agreement in a manner satisfactory to CI TY. CONSULTANT represents that its financial resources, surety and insurance experience, service experience, completion ability, personnel, current workload, experience in dealing with private consultants, and experience in dealing wi th public agencies all suggest that CONSULTANT is capable of performi ng the proposed contract and has a demonstrated capacity to deal fairly and effectively with and to satisfy a public CITY.
(B) CONSULTANT will perform its Services in a skillful manner, comply fully with all City established criteria, and with all applicable federal, state, and local laws, codes, and professional standards.
(C) CONSULTANT agrees to comply with all applicable federal and state employment laws regulations and rules including those that relate to minimum hours and wages, occupational health and safety, workers compensation insurance and state, county and local orders.
(D) CONSULTANT will staff this Agreement w ith personnel qualified to adequately and professionally perform the Services.
(E) CONSULTANT will not subcontract any por tion of these Services without the CITY’s prior written approval.
(F) CITY’s approval of any payment, or conducting of any inspection, reviews, approvals, or oral statements, or any governmental entity’s certification, will in no way limit the CONSULTANT’s obligat ions under this Agreement or CONSULTANT’s complete responsibility for all Services hereunder.

4. PAYMENTS.
(A) For CITY to pay CONSULTANT as specified by this Agreement and as provided in attached Exhibit(s) “ ” , CONSULTANT must submit a detailed invoice to CITY which lists the hours wo rked and hourly rates for each personnel category and reimbursable costs (all as set forth in E xhibit(s) “ ” ) the tasks performed, the percentage of the task completed during the billing period, the cumulative percentage completed for each task, the total cost of that Services during the preceding billing month and a cumula tive cash flow curve showing projected and actual expenditures versus time to date.
(B) CITY may withhold all or a portion of paymen t otherwise due in the event that Services are either improperly or not performed.

5. PROJECT COORDINATION AND SUPERVISION.
(A) CONSULTANT will assign as CONSULTANT’s Project Manager and will be responsible for job performance, negotiations, contractual matters, and coordi nation with CITY’s Project Manager.

CONSULTANT may change its Project Manager only with CITY consent. (B) CITY will assign as CITY’s Project Manager, will be personally in charge of and personally supervise or perform the technical execution of the project on a day-to-day basis on behalf of CITY, and will maintain direct communication with C ONSULTANT’s Project Manager. CITY may change its Project Manager at any time with notice to CONSULTANT.

6. NON-APPROPRIATION OF FUNDS. Payments due and payable to CONSULTANT for current Services are within the current budget and within an available, unexhausted and unencumbered appropriation of the CITY. In the event the CITY has not appropriated sufficient funds for payment of CONSULTANT Services beyond the current fiscal year, this Agreement will cover only those costs incurred up to the conclusion of the current fiscal year.

7. FAMILIARITY WITH SERVICES AND SITE.
(A) By executing this Agreement, CONSULTANT represents that it has:
i. Carefully investigated and considered the scope of Services to be performed; and
ii. Carefully considered how the Services should be performed; and iii. Understands the facilities, difficu lties, and restric tions attending performance of the Services under this Agreement.

B. If the Services under this Agreement are to be performed upon any site, or otherwise require CONSULTANT to access a site, by executing this Agreement CONSULTANT represents that it has or will investigate the site and is or will be fully acquainted with the conditions there existing, before commencing the Services under this Agreement.

8. TERM.

A. The term of this Agreement will be from ________ _ to _________ .

Unless otherwise determined by written amendment between the parties, this Agreement will terminate in the following instances:
i. Completion of the Services specified in Exhibit(s) “ ”, or ii. Termination pursuant to Section 17 TERMINATION.

B. Except as otherwise separately and expressly provided by the CITY in writing, the provisions of this Agreement shall surv ive any expiration, breach, or termination of this Agreement, and any completion of the Services.

9. TIME FOR PERFORMANCE. CONSULTANT will not perform any Services under this Agreement until:

A. CONSULTANT furnishes proof of in surance as required under Section 24 INSURANCE; and
B. CITY gives CONSULTANT a written notice to proceed.

Should CONSULTANT begin Services on any phase in advance of receiving written authorization to proceed, any such professional Services are at CONSULTANT’s own risk.

10. SCHEDULE OF PERFORMANCE AND EXTENSIONS.

A. Should the progress of the Services under this Agreement at any time fall behind schedule for any reason other than excu sable delays CONSULTANT shall apply such additional manpower and resources as necessary to bring progress of the Services under this Agreement back on sche dule and consistent with the standard of professional skill and care required by this Agreement. Time is of the essence in the performance of this Agreement.

B. Should CONSULTANT be delayed by cau ses beyond CONSULTANT’s control, CITY may grant a time extension for the completion of the contracted Services. If delay occurs, CONSULTANT must notify the CITY’s designated representative within forty-eight hours (48 hou rs), in writing, of the cau se and the extent of the delay and how such delay interferes with the Agreement’s schedule. The CITY will extend the completion time, when appropriate, for the completion of the contracted Services.

11. CHANGES. CITY may order changes in the Servi ces within the general scope of this Agreement, consisting of additions, deletions, or other revisions, and the contract sum and the contract time will be adjusted accordingly. All such changes must be authorized in writing, executed by CONSULTANT and CITY. The cost or credit to CITY resulting from changes in the Services will be determined in accordance with written agreement between the parties.

12. ADDITIONAL SERVICES.

A. The CITY may request CONSULTANT to pr ovide Services in addition to Scope of Services, called “Additional Services”. Additional Services that incur additional costs (contingency) of up to 15% of the to tal contract amount must be authorized by CITY by change order or other docu mented means. Costs beyond this amount must first be approved by CITY in accord ance with applicable thresholds and procedures. Additional Services must be author ized by CITY in writing prior to

performance. CONSULTANT shall be compensated for Additional Services as set forth in Exhibit(s) “ ” or as specified in the written authorization.

B. If CONSULTANT believes Additional Services are needed to complete the Scope of Services, CONSULTANT will provide th e CITY with written notification that contains a specific description of the proposed additional Services, reasons for such additional Services, and a detailed propos al regarding cost. CITY is under no obligation to approve any increase in the agreed-upon costs for the performance of this Agreement.

13. PERMITS AND LICENSES. CONSULTANT, at its sole expense, will obtain and maintain during the term of this Agreement, all necessary permits, licenses, and certificates that may be required in connection with the performance of Services under this Agreement.

14. SITE INSPECTION; DISCOVERY OF HA ZARDOUS MATERIALS OR LATENT CONDITIONS. The discovery, presence, handling or removal of hazardous substances is outside of CONSULTANT’s expertise, unless otherwise specified in Exhibit(s) “ ” , and is not included in the scope of Services. Should C ONSULTANT discover any hazardous material, or latent or unknown conditions that may materia lly affect the performa nce of the Services, CONSULTANT will immediately in form CITY of such fact and will not proceed except at CONSULTANT’s own risk until written instructions are received from CITY.

15. PREVAILING WAGES. CONSULTANT shall comply with the California Prevailing Wage Law to the extent it applies to work perfor med under this Agreement. If applicable, CONSULTANT shall pay prevailing wages to its employees and shall comply with the additional provisions set forth below:
(A) CONSULTANT shall pay pr evailing wages to its employees on any agreement when required by applicable law. Copies of the general prevailing rates of per diem wages for each craft, classification, or type of worker needed to execute the Agreement, as determined by the Director of the State of California Department of Industrial Relations, are on file at the County’s Capital Projects Office and may be obtained from the California Department of Industrial Relations website http://www.dir.ca.gov/OPRL/DPreWageDetermination.htm. CONSULTANT shall comply with the 8-hours per day/ 40 hours per week/overtime/working hours restrictions for all employees, pursuant to the California Labor Code. CONSULTANT and all subconsulta nts shall keep and maintain accurate employee payroll records for Work perf ormed under the Agreement. The payroll records shall be certified and submitted as required by law, including Labor Code Sections 1771.4 (if applicable) and 1776, including to the Labor Commissioner no less frequently than monthly. CONSULTANT shall comply fully with Labor Code Section 1777.5 in the hiring of apprentices for work relating to the Agreement. (B) CONSULTANT acknowledges and agrees th at it will comply with AB 1768 (effective January 1, 2020), which ame nded and expanded the definition of “construction” for which prevailing wages must be paid to include “work performed during the design, site assessm ent, feasibility study, and other pre-

construction phases of construction …regardless of whether any further construction work is conducted…”
(C) CONSULTANT shall forfeit, as a penalty to Owner, the penalty or penalties as provided by the California Labor Code, for each laborer, workman, or mechanic employed in performing labor in and about the Work provided for in the Agreement for each day, or portion thereof, that su ch laborer, workman or mechanic is paid less than the said stipulated rates fo r any work done under the Agreement by him or her or by any Subconsultant under him or her, in violation of Articles 1 and 2 of Chapter 1 of Part 7 of Division II of th e California Labor Code. The sums and amounts which shall be forfeited pursuant to this Paragraph and the terms of the California Labor Code shall be withheld and retained from payments due to CONSULTANT the California Labor Code , but no sum shall be so withheld, retained or forfeited except from the final payment without a full investigation by either the State Department of Industr ial Relations or by Owner. The Labor Commissioner pursuant to California Labor Code §1775 shall determine the final amount of forfeiture.
(D) CONSULTANT shall insert in every s ubcontract or other arrangement which CONSULTANT may make for performance of Work or labor on Work provided for in the Agreement provision that Subconsultant shall pay persons performing labor or rendering service under subcontract or other arrangement not less than the general prevailing rate of per diem wages for work of a similar character in the locality in which the Work is performed, and not less than the general prevailing rate of per diem wages for holiday and overtime work fixed in the California Labor Code.
(E) CONSULTANT and Subconsultants must keep accurate payroll records, showing the name, address, social security numb er, work classification, straight time and overtime hours worked each day and week, an d the actual per diem wages paid to each journeyman, apprentice, worker, or other employee employed by him or her in connection with the Work of the Agre ement Documents. Each payroll record shall contain or be verified by a writte n declaration as required by Labor Code Section 1776. The payroll records enumerated above must be certified and shall be available for inspection at all reasona ble hours at the pr incipal office of CONSULTANT as required by Labor Code Section 1776. This Project is subject to prevailing wage compliance monitoring and enforcement by the Department of Industrial Relations.

16. WAIVER. CITY’s review or acceptance of, or payment for, Services or product prepared by CONSULTANT under this Agreement will not be cons trued to operate as a waiver of any rights CITY may have under this Agreement or of an y cause of action arising from CONSULTANT’s performance. A waiver by CITY of any breach of any term, covenant, or condition contained in this Agreement will not be deemed to be a waiv er of any subsequent breach of the same or any other term, covenant, or condition contained in this Agreement, wh ether of the same or different character.

17. TERMINATION.
(A) Termination for Convenience. CITY may terminate this Agreement at any time with or without cause by written notice to CONSULTANT.
i. CONSULTANT will be entitled to recover its costs expended up to the termination plus reasonable profit thereon to the termination date not to exceed the total costs under Section 1(C), but may recover no other loss, cost, damage, or expense.
(B) Termination for Cause. CITY may terminate this Agreement in whole or part for default should CONSULTANT commit a material breach of this Agreement, and such breach has not been cured within fi fteen (15) calendar days of the date of CITY’s written notice to CONSULTANT demanding such cure. In the event CITY terminates this Agreement for default, CONSULTANT will be liable to CITY for all costs to cure the deficiencies, and all loss, cost, expense, damage, and liability resulting from such breach and termination.
(C) Upon receiving a termination notice, CONSULTANT will immediately cease performance under this Agreement unless otherwise provided in the termination notice. Except as otherwise provided in the termination notice, any Services performed by CONSULTANT after receiving a termination notice will be performed at CONSULTANT’S own cos t; CITY will not be obligated to compensate CONSULTANT for such Services.
(D) Upon a termination, all finished or unfinis hed documents, data, studies, surveys, drawings, maps, reports and other ma terials prepared by CONSULTANT will become CITY’s property and CONSULTANT will deliver any such items in its possession to CITY within thirty (30) days of termination. (E) Should the Agreement be terminated pursu ant to this Section, CITY may procure on its own terms Services similar to those terminated.

18. OWNERSHIP OF DOCUMENTS. All documents, data, studi es, drawings, maps, models, photographs and reports prepared by CONSULTANT under this Agreement are CITY’s property.

CONSULTANT may retain copies of said documents and materials as desired, but will deliver all original materials to CITY upon CITY’s written notice. CITY agrees that use of CONSULTANT’s Services for purposes other than identified in this Agreement is at CITY’s own risk.

19. PUBLICATION OF DOCUMENTS. Except as necessary for performance under this Agreement, CONSULTANT will not release copies, sketches, or graphs of materials, including graphic art services, prepared pu rsuant to this Agreement to a ny other person or public entity without CITY’s prior written approval. All press releases, including graphic display information to be published in newspapers or magazines, wi ll be approved and distributed solely by CITY, unless otherwise provided by written agreement between the parties.

20. INDEMNIFICATION AND LIABILITY.
(A) To the fullest extent permitted by law, CONSULTANT shall defend (with legal counsel reasonably acceptable to CITY), indemnify and hold harmless CITY and its officers, agents, departments, offi cials, representatives and employees (collectively “Indemnitees”) from and ag ainst any and all claims, loss, cost, damage, injury (including, without limitation, economic harm, injury to or death of an employee of CONSULTANT or its subc onsultants), expense and liability of every kind, nature and descrip tion that arise from or rela te to (including, without limitation, incidental and c onsequential damages, court costs, attorneys’ fees, litigation expenses and fees of expert c onsultants or expert witnesses incurred in connection therewith and costs of investigation) that arise from or relate to, directly or indirectly, in whole or in part, fr om: (1) CONSULTANT’s performance of Services under this Agreement, or any part thereof; (inc luding any additional services authorized by CITY in writing) (2) any negligent act or omission of CONSULTANT, any subconsultant, anyone directly or indirectly employed by them, or anyone that they control; (3) a ny actual or alleged infringement of the patent rights, copyright, tr ade secret, trade name, trademark, service mark or any other intellectual or propri etary right of any person or persons in consequence of the use by CITY, or any other Indemnitee, of articles or Services to be supplied in the performance of this Agreement; or (4) any breach of this Agreement (collectively “Liabilities”). Such obligations to defend, hold harmless and indemnify any Indemnitee shall not apply to the extent such Liabilities are caused by the sole negligence or willful misconduct of such Indemnitee, but shall apply to all other Liabilities. The foregoing shall be subject to the limitations of California Civil Code section 2782.8 as to any design professional services performed by CONSULTANT and in particular the limitation on CONSULTANT’s duty to defend whereby such duty only arises for claims relating to the negligence, recklessness or willful misconduct of CONSULTANT as well as the limitation on the cost to defend whereby CONSULTANT will only bear such cost in proportion to CONSULTANT’s proportionate percenta ge of fault (except as otherwise provided in section 2782.8).
(B) The foregoing indemnification provisions will not reduce or affect other rights or obligations which would otherwise exis t in favor of the CITY and other Indemnitees.
(C) CONSULTANT shall place in its subc onsulting agreements and cause its subconsultants to agree to indemnities and insurance obligations in favor of CITY and other Indemnitees in the exact form a nd substance of those contained in this Agreement.

21. ASSIGNABILITY. This Agreement is for CONSUL TANT’s professional services.

CONSULTANT or any subconsultant ’s attempts to assign the benefits or burdens of this Agreement without CITY’s written approval are prohibited and will be null and void.

22. INDEPENDENT CONTRACTOR. CONSULTANT shall at all times be deemed an independent contractor wholly responsible for th e manner in which it performs the Services, and fully liable for the acts and omissions of its em ployees, subconsultants a nd agents. Under no circumstances shall this Agreement be construed as creating an employment, agency, joint venture or partnership relationship between CITY and CONSULTANT, and no such relationship shall be implied from performance of this Agreement. Terms in this Agreement referring to direction from CITY shall be construed as providing for direction as to policy and the result of Services only, and not as to means and methods by which such a re sult is obtained. CONSULTANT shall pay all taxes (including California sales and use taxes) levied upon this Agreement, the transaction, or the Services and/or goods delivered pursuant hereto without additional compensation, regardless of which party has liability for such tax under applicable law, and any deficiency, interest or penalty asserted with respect thereto. CONSULTANT shall pay all othe r taxes including but not limited to any applicable City business tax, not expl icitly assumed in writing by CITY hereunder.

CONSULTANT shall comply with all valid administrative regulations respecting the assumption of liability for the payment of payroll taxes and contributions as above described and to provide any necessary information with respect theret o to proper authorities. CONSULTANT has no authority to bind the CITY.

23. AUDIT OF RECORDS. CONSULTANT will maintain full and accurate records with respect to all Services and matters c overed under this Agreement. T hose records include, without limitation, correspondence, internal memoranda, calculations, books and accounts, accounting records documenting its services under its Agreement, and invoices, payrolls, records and all other data related to matters covered by this Agreement. CITY and its designees will have free access at all reasonable times to such records, including the right to audit, examine, and make copies, excerpts, and transcripts from such records, and to inspect all program data, documents, proceedings and activities. If CITY receives funds from another governmental entity for the payment in whole or part of the Services, that g overnmental entity will ha ve all rights the CITY has under this Section. CONSULTANT will retain a ll records subject to this Section for at least three (3) years after termination or final payment under this Agreement.

24. INSURANCE. [All insurance terms subject to review and approval of City Risk Manager] (A) Before commencing performance under this Agreement, and at all other times this Agreement is effective, CONSULTANT will procure and maintain the following types of insurance with coverage limits complying, at a minimum, with the limits set forth below:

Type of Insurance Limits
Commercial general liability: $1,000,000
Professional liability $1,000,000
Business automobile liability $1,000,000
Workers compensation Statutory requirement

(B) Commercial general liability insurance will meet or exceed the requirements of ISO-CGL Form No. CG 00 01 11 85 or 88. The amount of insurance set forth above will be a combined single limit per occurrence for bodily injury, personal injury, and property damage for the policy coverage. Automobile coverage will be written on ISO Business Auto Coverage Form CA 00 01 06 92, including symbol 1 (Any Auto). Liability policies will be endorsed to name CITY, its officials, and employees as “additional insureds” under said insurance coverage and to state that such insurance will be deemed “primary” such that any other insurance that may be carried by CITY will be excess thereto. Such endorsement must be reflected on ISO Form No. CG 20 10 11 85 or 88, or equivalent. Such insurance will be on an “occurrence,” not a “claims made,” basis and will not be cancelable or subject to reduction except upon thirty (30) days prior written notice to CITY.
(C) Professional liability coverage will be on an “occurrence basis” if such coverage is available, or on a “claims made” basis if not available. When coverage is provided on a “claims made basis,” CONSULTANT will continue to renew the insurance for a period of at least three (3) years after this Agreement expires or is terminated. Such insurance will have the same coverage and limits as the policy that was in effect during the term of this Agreement, and will cover CONSULTANT for all claims made by CITY arising out of any errors or omissions of CONSULTANT, or its officers, employees or agents during the time this Agreement was in effect.
(D) CONSULTANT will furnish to CITY duly authenticated Certificates of Insurance evidencing maintenance of the insurance required under this Agreement, including endorsements, and such other evidence of insurance or copies of policies as may be reasonably required by CITY from time to time. Insurance must be placed with California-admitted insurers with (other than workers compensation) a current A.M. Best Company Rating of at least “A:VII.” (E) Waiver of Subrogation: The insurer(s) agree to waive all rights of subrogation against CITY, its elected or appointed officers, officials, agents, volunteers and employees for losses paid under the terms of the workers compensation policy which arise from work performed by CONSULTANT for CITY. (F) Should CONSULTANT, for any reason, fail to obtain and maintain the insurance required by this Agreement, CITY may obtain such coverage at CONSULTANT’s expense and deduct the cost of such insurance from payments due to CONSULTANT under this Agreement or terminate pursuant to contract language. In the alternative, should CONSULTANT fail to meet any of the insurance requirements under the Agreement, City may terminate this Agreement immediately with no penalty.
(G) Should CONSULTANT’S insurance required by this Agreement be cancelled at any point prior to expiration of the policy, CONSULTANT must notify City

within 24 hours of receipt of notice of cancellation. Furthermore, CONSULTANT must obtain replacement coverage that meets all contractual requirements within 10 days of the prior insurer’s issuance of notice of cancellation. CONSULTANT must ensure that there is no lapse in coverage. (H) The CITY shall be entitled to any coverage in excess of the minimums required herein.
(I) COVID-19. CONSULTANT shall ensure its insurance coverages cover claims and/or losses related to the COVID-19 pandemic to the extent such insurance coverage is available. If such insurance is unavailable, but becomes available during the life of the contract, CONSULTANT shall procure a policy and name the City as additionally insured.

25. INCIDENTAL TASKS. CONSULTANT will meet with CITY monthly to provide the status on the Services, which will include a schedule update and a short narrative description of progress during the past month for each major task, a description of the Services remaining and a description of the Services to be done before the next schedule update.

26. DISPUTE RESOLUTION.
(A) In the event of any dispute between CONSULTANT and CITY regarding any claim, demand or request by CONSUL TANT for time, money, or additional compensation for any reason whatsoever CONSULTANT shall submit to CITY, within 21 days of CONSULTANT’s firs t knowledge of the dispute, a written description of CONSULTANT’s claim, demand or request that provides a narrative of the pertinent events, the contractua l basis of the CONSULTANT’s position, pricing calculations (if applicable) and attaches supporting documentation. CITY will then review the issue and make a d ecision thereon. If CONSULTANT shall fail to provide timely notice of any such claim, demand or request, then CONSULTANT shall waive is rights to such claim, demand or request, unless CONSULTANT can demonstrate a manifest lack of prejudice to CITY resulting from such late notice. CONSULTANT shall continue its work throughout the course of any dispute, a nd CONSULTANT’s failure to continue work during a dispute shall be a material breach of this Agreement.
(B) If the CITY denies CONSULTANT’s claim, demand, or request in whole or part and CONSULTANT disagrees, and the claim, demand or request exceeds $50,000 then the parties shall, as a precondition to initiating litigation, submit the dispute claim, demand, or request to the Los Angeles JAMS office for non-binding mediation under the appropriate rules. The parties may agree to any other dispute resolution process. Nothing herein will limit CONSULTANT’s obligation to timely submit to CITY a statutory Govern ment Code Claim, in accordance with Government Code sections 910 et seq.

27. NOTICES. All communications to either party by the other party will be deemed made when received by such party at its respective name and address as follows:

If to CONSULTANT:

If to CITY:

City of Santa Clarita
ATTN: Kenneth W. Striplin, City Manager
23920 Valencia Boulevard, Suite 300
ATTN: Santa Clarita, CA 91355

Any such written communications by mail will be conclusively deemed to have been received by the addressee three days after deposit thereof in the United States mail, postage prepaid and properly addressed as noted above. In all other instances, notices will be deemed given at the time of actual delivery. Changes may be made in the names or addresses of persons to whom notices are to be given by giving notice in the manner prescribed in this Section.

28. CONFLICT OF INTEREST. CONSULTANT will comply with all conflict of interest laws and regulations including, without limitation, CITY’s Conflict of Interest Code (on file in the City Clerk’s Office). It is incumbent upon the CONSULTANT or CONSULTING FIRM to notify the CITY pursuant to Section 27 NOTICES of any staff changes relating to this Agreement.

A. In accomplishing the Scope of Services of this Agreement, all officers, employees and/or agents of CONSULTANT(S), unless as indicated in Subsection (B), will be performing a very limited and closely supervised function, and, therefore, unlikely to have a conflict of interest arise. No disclosures are required for any officers, employees, and/or agents of CONSULTANT, except as indicated in Subsection (B).
__________________
Initials of Consultant
(B) In accomplishing the Scope of Services of this Agreement, CONSULTANT will be performing a specialized or general service for the CITY, and there is substantial likelihood that the CONSULTA NT’s Services product wi ll be presented, either written or orally, for the purpose of in fluencing a governmental decision. As a result, the following CONSULTANT personnel shall be subject to the Disclosure Category “1” of the CITY’s Conflict of Interest Code:

______________________ ______________________

______________________ ______________________

29. SOLICITATION. CONSULTANT maintains and warrants that it has not employed nor retained any company or person, other than CONS ULTANT’s bona fide employee, to solicit or secure this Agreement. Further, CONSULTANT warrants that it has not paid nor has it agreed to

pay any company or person, other than CONS ULTANT’s bona fide employee, any fee, commission, percentage, brokerage fee, gift or other considerat ion contingent upon or resulting from the award or making of this Agreement. Should CONSULTANT breach or violate this warranty, CITY may rescind this Agreement without liability.

30. THIRD PARTY BENEFICIARIES . CONSULTANT’s subconsu ltants shall agree to be bound to the terms of the Agreement to the extent of their scope of services, including but not limited to, terms regarding indemnity and dispute resolution, and shall agree that CITY is deemed an express third party beneficiaries of their subconsultant agreement. Nothing in this Agreement, however, shall operate to confer such or similar rights or benefits on persons or entities not party to this Agreement.

31. INTERPRETATION. This Agreement was drafted in, and will be construed in accordance with the laws of the State of California. The exclusive venue for any action involving this Agreement will be in Los Angeles County.

32. ENTIRE AGREEMENT. This Agreement, and its Att achments, sets forth the entire understanding of the parties with respect to the subject matte r hereof. There are no other understandings, terms or other agreements e xpressed or implied, or al or written.

There is/are ( ) Exhibits (s) to this Ag reement. To the extent of a conflict between this Agreement and one of the Exhibi ts, the terms of the Agreement shall take precedence. This Agreement will bind and inure to the benefit of the parties to this Agreement and any subsequent successors and assigns.

33. RULES OF CONSTRUCTION. Each party had the opportuni ty to independently review this Agreement with legal counsel . Accordingly, this Agreement will be construed simply, as a whole, and in accordance with its fair meaning; it will not be interpreted strictly for or against either party.

34. SEVERABILITY. If any portion of this Agreement is declared by a court of competent jurisdiction to be invalid or unenforceable, then such portion will be deemed modified to the extent necessary in the opinion of the court to render such portion enforceable and, as so modified, such portion and the balance of this Agreement will continue in full force and effect.

35. AUTHORITY/MODIFICATION. The parties represent and warrant that all necessary action has been taken by the parties to authorize the undersigned to execute this Agreement and to engage in the actions described herein. To th e extent of any contingency above the original Agreement amount previously approved by the CITY’s City Council, additional Services may be added to this Agreement by an additional authorization executed by both parties. This Agreement may be otherwise modified by written amendmen t, which generally re quires approval of the CITY’s City Council. CITY’s City Manager, or designee, may execute any such authorization or amendment on behalf of CITY.

36. CAPTIONS. The captions of the sections and paragraphs of this Agreement are for convenience of reference only and will not affect the interpretation of this Agreement.

37. TIME IS OF ESSENCE. Time is of the essence for each and every provision of this Agreement.

38. DELAY. CONSULTANT shall complete all Services required by this Agreement within the times specified in the Agreement, except wh ere (1) an event outside of CONSULTANT’s reasonable control causes a delay and (2) CONSU LTANT promptly advises CITY of such delay (such prompt notice to occur no more than 15 days after the first occurrence of the delay). Such events shall be limited to: acts of neglect by CITY or CITY’s agents or by consultants when acting at CITY’s direction; breaches of this Agreemen t by CITY; Acts of God such as fire and flood; explosion, acts of terrorism, war and embargo; and other similar causes beyond the Parties’ reasonable control. In the event of an excusable delay the City may elect whether to terminate this Agreement or extend the time for performance.

39. FORCE MAJEURE. Except for defaults of subcontractors at any tier, CONSULTANT shall not be liable for any excess costs if the failure to perform the Agreement arises from causes beyond the control and without the fault or negligen ce of CONSULTANT, incl uding without limitation failure to reasonably mitigate any adverse impacts (Force Majeure).

Force Majeure events include the following: Acts of God, fires, floods, earthquake, other natural disasters, epidemics and pandemics (other than COVID-19 or variants), abnormal weather conditions beyond the parameters otherwise set forth in this Article, nuclear accidents, strikes, lockouts, freight embargos, interruptions in service by a regulated utility, or governmental statutes or regulations enacted or imposed after the fact (together, “force majeure events”).

40. PROTECTION OF RESIDENT WORKERS. The CITY actively supports the Immigration and Nationality Act (INA) which includes provi sions addressing employment eligibility, employment verification, and nondiscrimination. Under the INA, em ployers may hire only persons who may legally work in the United States (i.e., citizens and nationals of the U.S., and aliens authorized to work in the U.S.). The employer must verify the identity and employment eligibility of anyone to be hired, which in cludes completing the Employment Eligibility Verification Form (Form I-9), reviewing requ ired proofs of both identify and employment authorization, and retaining the Form I-9 for the required period. Updated form I-9 information is available at www.uscis.gov. The CONSULTANT sh all establish appropria te procedures and controls so no Services or products under the Ag reement will be performed or manufactured by any worker who is not legally eligible to perform such Services or employment.

41. COVID-19. Prior to execution of the Agreement, the State of California declared a state of emergency and issued a stay at home order in connection with the COVID-19 pandemic, and the County of Los Angeles (“County”) issued numerous orders relating to COVID-19, including without limitation an Order to Shelter in Place, originally dated March 17, 2020 (as subsequently extended and amended, including after the date of the Agreement, the “County Order”). In no event shall CONSULTANT be entitled to any additional compensation in connection with any delay or costs associated with the COVID 19 pandemic, the County Order, or any other governmental requirements or regulations in connection therewith, whether currently existing or hereinafter enacted. In the event of any conflict between the terms of this Section and any other provision of the Agreement, in all events, the terms of this Section shall control.

CONSULTANT’s safety and logistics plans prepared in connection with this Contract specifically takes into account the COVID-19 Pandemic, the County Order, and all other governmental requirements or regulations regarding COVID-19 as of the date of the Contract, including without limitation all safety measures required.

42. SAFETY OF PERSONS AND PROPERTY. CONSULTANT shall comply with, and give notices required by applicable laws, statutes, ordinances, codes, rules and regulations, and lawful orders of public authorities, bearing on safety of persons or property or their protection from damage, injury, or loss, including without limitation the County Order and all other governmental requirements or regulations regarding COVID-19, all as may be amended from time to time.

43. FACSIMILE OR ELECTRONIC TRAN SMISSION OF CONTRACT AND SIGNATURE. The parties agree that this Agreement may be transmitted and signed by facsimile or electronic mail by either/any or both/all parties, and that such signatures shall have the same force and effect as original signatures, in ac cordance with California G overnment Code section

16.5 and Civil Code section 1633.7.

44. STANDARD SUPPLEMENTAL PROVISIONS. Notwithstanding Section 32 ENTIRE AGREEMENT above, the following Standard Supplemen tal Provision(s), attached to this Agreement, is(are) incorporated herein by this reference and takes precedence over any conflicting provision of this Agreement: [Insert name of any applicable SSP(s), and attach only that SSP(s)—omit remaining SSP(s). In sert “None” if applicable.]___________________. [SIGNATURES ON NEXT PAGE]

IN WITNESS WHEREOF, the parties hereto have executed this contract on the date set forth below.
.

FOR CONSULTANT:

IF CORPORATION:

By: By:

Print Name & Title Print Name & Title

Date: Date:

FOR CITY OF SANTA CLARITA:

KENNETH W. STRIPLIN, CITY MANAGER

B y :

City Manager

D a t e :

APPROVED AS TO FORM:

JOSEPH M. MONTES, CITY ATTORNEY

B y :

City Attorney

D a t e :

EXHIBIT A
2016 Arts Master Plan

Arts Master Plan
February 2016

Five Year Update
July 2021
Arts Master Plan

1 City Council
Bob Kellar, Mayor
Dante Acosta, Mayor Pro Tem
TimBen Boydston
Marsha McLean
Laurene Weste

Arts Commission
Patti Rasmussen, Chair
Dr. Michael Millar, Vice Chair
Gary Choppe
John Dow
Susan Shapiro

City Staff
Ken Striplin, City Manager
Frank Oviedo, Assistant City Manager
Tom Cole, Director of Community Development
Rick Gould, Director of Parks, Recreation, and Community Services Darren Hernandez, Deputy City Manager and Director of Administrative Services Robert Newman, Director of Public Works
Ingrid Hardy, Recreation and Community Services Manager Phil Lantis, Arts and Events Administrator

Stakeholder Committee
Kelly Behle, Santa Clarita Public Library
Sara Brown, Community Representative
Gary Choppe, Arts Commission
Jason Crawford, City of Santa Clarita, Economic Development Manager Homayoun Daryani, Small Business Representative
Ted Dayton, Visual Arts Representative
Carmen Dominguez, College of the Canyons
Dr. Tyrone Howard, University of California, Los Angeles Marlee Lauffer, Business Community Representative
Dr. Michael Millar, Arts Commission
Denise Nelson, California Institute of the Arts
Susan Shapiro, Arts Commission (Alternate)
Mikee Schwinn, Performing Arts Representative
Evelyn Serrano, Artist/Community Activist
Murray Siegel, Entertainment Industry Representative
Sue Solomon, K-12 Education Representative
Rosalind Wayman, Los Angeles County Fifth Supervisorial District

Planning Consultants
The Cultural Planning Group
Jerry Allen, Partner
David Plettner-Saunders, Partner
Linda Flynn, Research Director
www.culturalplanning.com

Arts Master Plan

2 City Council
Bill Miranda, Mayor
Laurene Weste, Mayor Pro Tem
Jason Gibbs
Marsha McLean
Cameron Smyth

Arts Commission
Dr. Michael Millar, Chair
Susan Shapiro, Vice Chair
Patti Rasmussen
April Scott-Goss
Vanessa Wilk

City Staff
Ken Striplin, City Manager
Frank Oviedo, Assistant City Manager
Tom Cole, Director of Community Development
Janine Prado, Director of Recreation and Community Services Jerrid McKenna, Interim Director of Neighborhood Services Carmen Magana, Director of Administrative Services
Robert Newman, Director of Public Works
Phil Lantis, Arts and Events Manager
Jenni Thompson, Arts, Schools, and Volunteers Administrator Katherine Nestved, Arts Coordinator

Stakeholder Committee
Homayoun Daryani, Small Business Representative
Ted Dayton, Santa Clarita Photographers Association
Stephanie English, Los Angeles County Fifth Supervisorial District, Field Deputy Monica Fawcett, City of Santa Clarita, Economic Development Associate Dr. Tyrone Howard, University of California, Los Angeles Marlee Lauffer, Henry Mayo Hospital Foundation, President Pamela Lewis, College of the Canyons, Art Gallery Director Tom Lund, Newhall Family Theatre for the Performing Arts, Theatre Manager Sara McDaniels, Arts for Santa Clarita
Dr. Michael Millar, Arts Commission
Denise Nelson, California Institute of the Arts, Senior Director, Office of Communications
Evelyn Serrano, Artist/Community Activist
Susan Shapiro, Arts Commission
Murray Siegel, Entertainment Industry Representative
Jennifer Smolos, College of the Canyons, Dean of Fine and Performing Arts Sue Solomon, K-12 Education Representative, Council PTA President Shannon Vonnegut, Santa Clarita Public Library, City Librarian

Original Planning Consultants
The Cultural Planning Group (Jerry Allen, Partner; David Plettner- Saunders, Partner; Linda Flynn, Research Director)
www.culturalplanning.com
Arts Master Plan

3 Arts Master Plan Update Table of Contents

Executive Summary................................................................................................ 5 Community Description ....................................................................................... 12 What Do We Mean by “Arts and Culture”? ............................................................ 19 Community Engagement Findings ....................................................................... 22 Arts Funding in California Cities ............................................................................ 28 The Community’s Vision for Cultural Development .............................................. 32 Conclusions .......................................................................................................... 34 The Plan: Recommendations ................................................................................. 37

1. Public Art .............................................................................................. 38 Update .................................................................................................. 47

2. Old Town Newhall Arts and Entertainment District ............................... 49 Update .................................................................................................. 60

3. Arts Education ...................................................................................... 61 Update .................................................................................................. 63

4. Governance of the Arts ......................................................................... 64 Update .................................................................................................. 68

5. Cultural Facilities, Venues and Spaces ................................................... 69 Update ................................................................................................... 73

6. Supporting Artists and Arts Organizations ............................................ 74 Update ................................................................................................... 77

7. Arts Funding.......................................................................................... 79 Update .................................................................................................. 84

8. Creative Economy ................................................................................. 85 Update .................................................................................................. 88

9. Marketing the Arts ................................................................................ 89 Update .................................................................................................. 91

10. Celebrating Diversity ............................................................................. 92 Update .................................................................................................. 96 Table of All Recommendations ............................................................................. 96 Table of All Update Recommendations .............................................................. 105 Implementation ..................................................................................................110 Planning Participants .......................................................................................... 113

The Arts Master Plan document is accompanied by a Research Appendix, a separate document which includes the community survey report, a summary of the AMPED Arts Summit (town hall meeting), notes from visioning exercises and other supporting information.

2 Arts Master Plan

4 Executive Summary

Arts Master Plan

5 Executive Summary

Introduction and Overview

The City of Santa Clarita commissioned this Arts Master Plan in late 2014 to create a new, long-term roadmap for cultural development throughout the community.

This plan addresses several areas of specific interest: public art, arts funding, the Newhall Arts District, arts facilities, and the creative economy. It also builds on a two-phased Cultural Arts Master Plan adopted in 1997 and 1998, as well as other documents created under the guidance of the City of Santa Clarita Arts Commission.

The City of Santa Clarita has provided vital arts and cultural programming since its early years as a municipality. The Cowboy Festival began in 1994 and Concerts in the Park before that time. A next phase of municipal cultural development took place following adoption of the City’s first cultural plan in 1998. A ce ntral recommendation of that plan was for the City to serve as the lead arts agency for the community. In line with that recommendation, the City created the Arts and Events Office in 2003 and formed the Arts Commission in 2009. The budget of the Arts and Events Office has grown to $2.2 million and programs have expanded in scope and scale to include new events, arts education, exhibitions , public art and grants. The City has addressed the cultural facilities needs of the community by contributing funding towards three facilities, all of which are owned and operated by other organizations.

Community Engagement in Development of this Plan

The Santa Clarita Arts Master Plan is based on extensive community engagement involving approximately 1,250 residents and workers. The community engagement process included:
• Stakeholder Committee
• Key person interviews
• Focus groups
• AMPED Arts Summit (Town Hall Meeting)

4 Arts Master Plan

6 • Community survey
The plan’s Stakeholder Committee (page 1) included community leaders from both the arts and non-arts sectors, seeking to identify ways the arts can partner with other civic interests. Planning participants spanned a diverse range that included longtime and new residents from all areas of the city, millennial-aged students and workers, parents, educators, small business owners, artists, CalArts faculty and staff, multicultural leaders, realtors, developers, social services, the faith community, and seniors.

Key Findings of the Community Engagement

• Santa Clarita residents are personally very active in their arts and cultural interests.
• Santa Clarita loses audience to other cities for most types of cultural activities and has strong demand for additional offerings provided in the city.
• Respondents want more arts festivals, live performances, museums, informal performances, and independent film to be available in Santa Clarita.
• The community expresses satisfaction with the quality, variety, availability and affordability of current arts and cultural offerings, while providing valuable messages regarding areas of
improvement.
• Santa Clarita residents express strong interest in celebrating history and cultural heritage as well as more sophisticated, contemporary experiences.
• There is consensus that Old Town Newhall is the cultural heart of the city, but also a desire to have cultural activities available in other areas.
• Children are very involved in arts activities both in and out of school.
• There is strong desire for enhanced arts and cultural opportunities for children and youth.
• There is demand for additional class offerings for both children and adults.

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7 • Arts and culture are seen as an excellent way to promote diversity and inclusion.
• It is important to acknowledge and support Santa Clarita’s artists and creatives (e.g., design professionals, film industry professionals, owners of small businesses in the creative industries) as a foundation for the community’s cultural development.
• There is very high support for the City taking the leadership role in arts and cultural development.
• Citizens want to play an active role in the continued development of Santa Clarita’s cultural life.
• Community members seek better access to information about arts events and activities.

Vision Statement

The following vision statement is the community’s collective definition of successful cultural development in Santa Clarita in the coming decade:

The City of Santa Clarita will be recognized as a “city of the arts,” where the lives of residents, artists, and visitors are enriched through artistic and cultural experiences.

Conclusions

The community engagement and vision lead to several conclusions about Santa Clarita’s cultural identity and future.

First, Santa Clarita has articulated a vision of elevating its cultural life. As a relatively young community, located adjacent to one of the world’s cultural capitals, Santa Clarita is coming of age in cultural terms. Its tastes and the scope of its cultural interests have expanded. Its population has grown and diversified. The community’s vision is not merely for more, but rather an evolution in the way arts and culture fit in the community: increasing the quality and sophistication of local offerings, enabling community creativity, celebrating diverse cultures, and going beyond children and families to meet the needs of young adults.

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8 Second, Santa Clarita is also in the process of becoming more than a suburb of Los Angeles. It is transforming into an exurban, regional place proclaiming its own distinct identity. In cultural terms, this is reflected in the community’s desire to have more available locally, but beyond this, to establish Santa Clarita as an arts city and destination, and to build on its authentic identity as a Western frontier settlement, longstanding film industry location, and an increasingly sophisticated contemporary community.

Third, there is a voice in Santa Clarita favoring greater diversity and inclusion in its cultural life. While still a predominately white population, the community has become more diverse and, as is true throughout southern California, people of all backgrounds embrace cultural diversity.

Fourth, the community provided a strong vote of confidence for the City to continue its leadership position in the arts, while sharing it with partners and enabling creative activities of citizens and the creative community.

Lastly, while this plan is for more than City action, one focus is to define an appropriate role for the City in meeting the cultural needs of citizens. For the past two decades, the City has focused its municipal resources on building a basic cultural infrastructure for the community: the Arts Commission, a capable local arts agency (the Arts and Events Office), a suite of programs and events, a nascent public art program and carefully targeted investments in cultural facilities. The City can most effectively focus in the coming decade on strategies that meet the evolving cultural interests of citizens and that enable the community as a greater partner in cultural development.

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9 The Plan

The Santa Clarita Arts Master Plan is organized according to three overarching themes and accompanying focus areas.

Theme 1. Enhancing Cultural Vitality in the Community

• Public Art
• Old Town Newhall Arts and Entertainment District
• Arts Education
Theme 2. Strengthening Cultural Support Systems
• Governance of the Arts
• Cultural Facilities, Venues and Spaces
• Supporting Artists and Arts Organizations
• Arts Funding
• Creative Economy
• Marketing the Arts
Theme 3. Fostering Greater Diversity and Inclusion

• Celebrating Diversity

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10 Executive Summary Update

The City of Santa Clarita Arts Master Plan has served as the guiding document for the development of arts and culture in our community for the last five years. The ten focus areas and 41 recommendations have been reviewed annually by the Arts Commission and staff during the development of the Arts Commission Work Plans and have been the basis for what has been prioritized and focused on each year.

The goal of this five-year update is to do an analysis of each of the ten focus areas and to provide additional recommendations to ensure that the plan remains a vital document to continue to guide the growth of the arts for the next five years.

This update was developed by a process that included multiple meetings of the Arts Commission and its committees, a meeting of the arts community, a meeting of the Stakeholder Committee that was formed during the original planning process, and input from City staff. This update is focused on the Recommendations section of the Arts Master Plan, so even though there have been chang es to some of the earlier sections, such as Community Description, those sections are not being updated at this time.

There has been a lot of growth in arts and culture in Santa Clarita during the last five years, and this can be attributed to the quality of this plan. This update is in no way intended to replace the plan; it is simply an update to ensure that it continues to be the guiding document it was intended to be for the next five years.

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11 Community Description

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12 Community Description

Santa Clarita is a suburb of Los Angeles and now the third largest city in Los Angeles County. Founded in 1987, the City is comprised of four areas: Canyon Country, Saugus, Newhall and Valencia. Santa Clarita is part of a geographic region, the Santa Clarita Valley, which includes six additional and adjacent areas in the unincorporated Los Angeles County—Acton, Agua Dulce, Castaic, Stevenson Ranch, Val Verde and West Ranch. Santa Clarita has established a reputation for being a family-friendly, quiet and safe community, with an outstanding collection of quality of life amenities that include parks, recreation, community centers and library facilities. The City is also home to signature events that include the annual Cowboy Festival, the AMGEN Tour of California bicycle race, and several youth sports events.

The Santa Clarita Valley has a rich and storied history that begins with its indigenous Native Americans and continues through an extraordinary confluence of early California ranching, mining, oil, railroads and movie making. T he Tataviam Tribe were the valley’s first inhabitants, migrating into the Newhall area in the fifth Century. In the nineteenth century, the valley was the site of cattle ranching, the discovery of gold in 1842 in Placerita Canyon, and California’s first oil well, in 1876 in Mentyrville. This tiny oil town was home to the longest running oil rig, which was not capped until 1990. 1876 was also the year in which the Southern Pacific Railroad completed the railway connection between San Francisco and Los Angeles with the Golden Spike ceremony at Lang Station, located in the valley, following a heroic engineering feat of digging the San Fernando Tunnel, still used by Metrolink and Southern Pacific trains.

In the early twentieth century, Santa Clarita began its long and continuing history with the film industry. William S. Hart, who lived in Newhall, was a film actor active during the ‘teens and the 1920s and, during his career, the world’s most famous actor. Known as “Hollywood’s back lot,” the valley provided desirable locations for Westerns, including Hart’s, and was the home of early movie studios that included Melody Ranch and Disney's Golden Oak Ranch, both in Placerita Canyon . Many production studios are located in the valley and Disney is currently building new

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13 sound stages for ABC Studios at the Golden Oak Ranch. Over the decades, the valley has been the location for film and television productions spanning an extraordinary range from Gene Autry Westerns to CBS’ long-running television series NCIS, currently the world’s most-watched television drama.

Santa Clarita has been recognized by the Los Angeles Economic Development Corporation as the most business-friendly city in Los Angeles County, citing a desirable location along the Interstate 5, a well-educated workforce, favorable taxation policies, affordable lease rates, and a high quality of life. Home to a surprisingly diverse collection of business enterprises, the City identifies five growth clusters among its companies: advanced manufacturing; medical devices and biotech; digital media and entertainment; aerospace and defense; and information technology. Unemployment is among the lowest in Los Angeles County.

The Santa Clarita Valley is located in a beautiful natural environment of the high desert, ringed by several mountain ranges and canyons. The Santa Clara River and its watershed are the primary riparian system, flowing into the Pacific Ocean near Ventura. Although dry during much of the year, the river is in a relatively natural state, fed by seasonal rains. The City of Santa Clarita has made a major commitment to preserving and celebrating its natural environment in part through the creation by voter initiative in 2007 of the Open Space Preservation District . The District is a visionary and comprehensive addition to the City’s Open Space, Park and Parkland Program and its goals are to preserve natural land from development, create more parks for community usage, and protect rare biological and geological regions. The special assessment paid by City property owners gives the City a seat at the table to purchase land that could otherwise be developed and put pressure on the City’s natural resources. Additionally, the Open Space Preservation District greatly assists the City in preserving natural lands, retaining wildlife corridors, and completing the City’s greenbelt.

The City of Santa Clarita is home to three institutions of higher education, ea ch of which offers arts programs: California Institute of the Arts (CalArts), an internationally prominent art school; College of the Canyons, a vital campus of California’s community college network; and The Master’s University, a nondenominational conservative Christian liberal arts school.

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14 Santa Clarita’s Evolving Population

The City of Santa Clarita’s population is distinguished by rapid and continuing growth. Total population has risen by more than a third from approximately 150,000 in 2000 to 213,000 in 2015. Population has been driven by infill development as well as annexation. Growth was among the fastest in Los Angeles County during the period 2000 to 2010. Some estimates project growth of the entire Santa Clarita Valley to about a half million people at build out, forming a true exurban area.

The population of the City of Santa Clarita has also grown more diverse, with Hispanics rising from 20% in 2000 to 30% in 2010. The African American and Asian American populations, while lower than Los Angeles County and California averages, also increased during that time period.

The City’s Arts and Cultural Development

The City of Santa Clarita has provided arts and cultural programming since its early years as a municipality. The Cowboy Festival began in 1994 and Concerts in the Park before that time. A next phase of municipal cultural development took place following adoption of the City’s first cultural plan in 1998. A central recommendation of that plan was for the City to serve as the lead arts agency for the community. In line with this plan, the City created the Arts and Events Office in 2003 and formed the Arts Commission in 2009. The budget of the Arts and Events Office has grown to $2.2 million and programs have expanded in scope and scale to include new events, arts education, and grants.

Also in line with the recommendations of the cultural plan, t he City has addressed the cultural facilities needs of the community by contributing funding towards three facilities, all of which are owned and operated by other organizations . In 2001, the City committed $2.4 million towards the $18.3 million construction cost of the Santa Clarita Performing Arts Center at College of the Canyons, which opened in 2004 and has an 886-seat proscenium theater and a 100–seat black box space. Under the terms of the City’s Memorandum of Understanding (MOU) with the College, the Performing Arts Center makes the theaters available each year for use by Santa Clarita arts organizations. The City also made two facility grants 4 Arts Master Plan

15 to small-scale theaters in Old Newhall: the Canyon Theatre Guild with 280 seats and the Repertory East Playhouse with 81 seats (formerly the Santa Clarita Repertory Theatre).

The Arts and Events Office currently has a budget of approximately $2.2 million.

Just under half of this budget is spent on staff: there are 8 full-time and about 30 part-time staff, with emphasis on staffing for events. Also, the Arts and Events Office handles non-arts functions, such as some sporting and community events.

The arts and culture portion of the budget of the Arts and Events Office is less than two-thirds of the total, or about $1.4 million, including staff and programs. Within the arts portion, the budget for Arts Grants is $60,000 and $45,000 is for Arts Programs that include performances, arts education, the Arts Exhibits Program (for shows in City Hall, the Library, community rooms and the Valencia Town Center) and other activities. The City pays the College of the Canyons $75,000 per year under the terms of its MOU regarding the Performing Arts Center in exchange for a specified amount of community use of the theater.

Arts events produced by the Arts and Events Office include the annual Cowboy Festival, the Art SLAMs/JAM Sessions, Senses and Concerts in the Park. The public art program is currently voluntary and, under this approach, the City allocates amounts from selected projects in its Capital Improvements Program for art projects. The Arts and Events Office has overseen 16 projects since 2009. These projects are relatively small scale and the largest budget for a completed project to date has been $30,000.

Concerts in the Park is the City’s longest-running program. Held at Central Park, it has become a well-established and attended feature in the community’s cultural calendar. The location is prominent and provides an opportunity for community gathering. However, the park also offers some drawbacks as a venue, since it was not built for performances and requires construction of a portable stage. Also, concerts restrict the park’s availability for sports and recreation on Saturdays throughout the summer.

The City has fostered arts leadership through the formation first of an Arts Advisory Committee and then the Arts Commission. The five-member Commission is an unusually active, “working” group. The Commission oversaw development of an Arts Blueprint in 2013, a substantive document that included analysis and policy Arts Master Plan

16 recommendations in several focus areas. Each of five commissioners worked with staff on an area of interest. The Commission has begun work on a second phase of the Arts Blueprint but suspended this effort pending development of this Arts Master Plan.

Santa Clarita’s Arts and Cultural Community

Despite its relatively short history as a City, Santa Clarita is home to a small but vital community of arts and cultural organizations and many individual artists and creative professionals. There are 48 nonprofit arts and cultural organizations registered with the IRS and located in the City, ranging from CalArts to small, community-based organizations. About a dozen report annual operating budgets greater than $100,000. The City funded seven local arts organizations through its Arts Grants program in 2013/14. Total contributed revenues of the City’s Arts Grant recipients are modest, a collective amount of approximately $200,000, reflecting a challenging local funding environment that possesses few institutional arts grant makers. Perhaps reflecting this less institutional arts ecosystem, Santa Clarita’s arts community includes a number of long-standing and highly active community based organizations, and they benefit from a substantial amount of volunteerism.

There is a collection of unincorporated or informal organizations in Santa Clarita that celebrate and preserve culturally specific traditions and art forms. There are also a number of non-arts nonprofit organizations, some of which provide arts programs in community settings. The City funded fifteen organizations through its Community Service Grants in 2013/14 and, of these grants, two were arts-related.

While there is no census or comprehensive directory of individual artists in Santa Clarita, there is clearly a strong presence of working artists of varied disciplines and media. Ten percent of respondents to the community survey conducted for this plan identified as professional artists. There is also a strong presence of creative professionals working in the fields of design, the film industry, and other commercial enterprises.

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17 Nonprofit Arts & Cultural Organizations in Santa Clarita Source: National Center for Charitable Statistics (2013/14)

AHIMSA FESTIVAL FOUNDATION

ALLIANCE OF GERMANIC SOCIETIES OF PITTSBURGH

ARTREE COMMUNITY ARTS CENTER

BIG POND PRODUCTIONS INC

BROADWAY BOUND PLAYERS

CALIFORNIA INSTITUTE OF THE ARTS

CANTORI DOMINO

CANYON THEATRE GUILD

CULTIVATING CREATIVE MINDS

DHM PRODUCTIONS INC

E S C A P E

ENDEAVOR COMMUNICATIONS INC

FLUID WORKS FOUNDATION

FOUNDATION FOR US HISTORICAL MONUMENTS

HANDSON SANTA CLARITA INC

HISTORICAL MINIATURE GAMERS SOCIETY PACIFIC SOUTHWEST

KIDS INTERNATIONAL COMMUNICATION FOUNDATION

LITHUANIAN HERITAGE SOCIETY

MELODY RANCH MOTION PICTURE MUSEUM

NATIONAL FLUTE ASSOCIATION INC

NATIONAL SOCIETY OF THE DAUGHTERS OF THE AMERICAN REVOLUTION

RAGDOLL RESTORATION FOUNDATION

REEL LIFE MEDIA INC

REPERTORY EAST PLAYHOUSE

SANTA CLARITA ARTISTS ASSOCIATION INC

SANTA CLARITA BALLET COMPANY INC

SANTA CLARITA MASTER CHORALE INC

SANTA CLARITA PHILHARMONIC

SANTA CLARITA SHAKESPEARE FESTIVAL

SANTA CLARITA VALLEY CONCERT BAND

SANTA CLARITA VALLEY HISTORICAL SOCIETY

SANTA CLARITA VALLEY QUILT GUILD

SANTA CLARITA VALLEY YOUTH ORCHESTRA

SAUGUS COMMUNITY TELEVISION INC

SAUGUS HISTORICAL SOCIETY INC

SENIOR THEATER INC

SHOWDOWN STAGE CORPORATION

SOCIETY FOR THE PRESERVATION & ENCOURAGEMENT OF BARBERSHOP QUARTET SINGING

AMERICA

SPOTLIGHT ARTS

SPURGEON ARCHIVE
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18 SWADESHI

SWEET ADELINES INTERNATIONAL

THE SOCIETY FOR ANIMATION STUDIES

THEATRE COMPANY OF SAUGUS INC

VINTAGE WINGS WEST

YOUNGVILLE HIGHWAY HISTORY ASSOCIATION INC

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19 What Do We Mean by “Arts and Culture”?

There are different meanings for the terms “arts” and “culture” and their meanings often change in different contexts. The Santa Clarita Arts Master Plan adopts an expansive, inclusive definition of arts and culture. It includes a range of cultural sectors: high or fine arts as well as popular, ethnic and commercial arts, and historic preservation. A range of people: visual and performing artists, craftspeople, designers, arts educators and cultural practitioners. And a range of cultural events:
performances, exhibitions, festivals and celebrations. In addition, in Santa Clarita, it includes creativity found in the film industry and other elements of the creative industries. Adopting a broad notion of creativity as part of Santa Clarita’s culture reflects a contemporary sensibility, in which people do not always distinguish between creativity and “the arts.”
“Arts” has traditionally meant the fine arts: visual arts, music, theater, dance and literature. Choreographer Liz Lerman, winner of a 2002 MacArthur “Genius” Award, describes the shift to a contemporary definition as a vertical hierarchy becoming a level playing field. Using the dance field as an example, ballet used to be on the top of a pyramid, with dance forms such as folk dance and hip hop on the bottom. Now we see all art forms as having similar value but different focuses.

Likewise, we now include in our definition of “arts” such art forms as crafts, ethnic, traditional, popular, design and electronic or digital arts. “Culture” is most often defined in anthropological terms. A standard textbook definition is:

The system of shared beliefs, values, customs,
behaviours, and artifacts that the members of
society use to cope with their world and with one
another, and that are transmitted from generation
to generation through learning.
(Bates and Plog, “Cultural Anthropology,” McGraw Hill, 1990) Arts Master Plan

20 This is not only a very broad definition, but also one that extends far beyond the boundaries of even an expansive definition of the arts and creativity. The field of arts and culture draws an indistinct circle around its central territory of the arts, and acknowledges other cultural expressions on a case-by-case basis. Community context is one useful key. For example, Charlotte, North Carolina, is the historic and regional home of stock car racing and the NASCAR circuit. Charlotte views this racing as a cultural form and offers tours and events celebrating the races, racing history, and the community’s “racing culture.” San José, California is acknowledged as the world’s leading high-tech center, and this has created a special relationship with arts and culture in Silicon Valley. This is explored and celebrated in many ways, through such expressions as the ZERO1 Biennial of digital creativity. In Santa Clarita, culture certainly encompasses history and the community’s Western heritage.

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21 Community Engagement
Findings

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22 Community Engagement Findings

The Santa Clarita Arts Plan is based on extensive community engagement involving approximately 1,250 residents and workers. The community engagement process included:
• Stakeholder Committee
• Key person interviews
• Focus groups
• AMPED Arts Summit (Town Hall Meeting)
• Community survey
The plan’s Stakeholder Committee (page 1) included community leaders from both the arts and non-arts sectors, seeking to identify ways the arts can partner with other civic interests. Planning participants spanned a diverse range that included longtime and new residents from all areas of the city, millennial-aged students and workers, parents, educators, small business owners, artists, CalArts faculty and staff, multicultural leaders, realtors, developers, social services, the faith community, and seniors.

Key Findings of the Community Engagement

Santa Clarita residents are personally very active in their arts and cultural interests.

Virtually everyone in Santa Clarita pursues a creative interest: nearly all residents actively participate in arts and cultural activities as well as attend cultural events.

Personal participation includes reading novels, taking photographs, and cooking creative dishes or meals. More than half pursue their interests as a hobby or a way to share with friends and family. Residents attend arts and cultural activities most often in community settings—community centers, libraries and places of worship.

They also frequently attend live performances at theaters, neighborhood festivals, and informal venues such as a coffee shop, bar or park.

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23 Santa Clarita loses audience to other cities for most types of cultural activities and has strong demand for additional offerings provided in the city.

Respondents most often leave to attend museums, live performances, art galleries, independent films, arts festivals, and live performances at informal venues such as a coffee shop, bar or park. In fact, they leave Santa Clarita more often than they stay to attend cultural activities. The term for this is audience “leakage.” Since people prefer to attend close to home, this is a strong indication of demand in Santa Clarita for nearly all types of cultural activities. It also demonstrates the need for additional cultural facilities and venues in Santa Clarita.

Respondents want more arts festivals, live performances, museums, informal performances, and independent films to be available in Santa Clarita.

In line with the audience “leakage” described above, respondents express the desire for more of these types of cultural activities in Santa Clarita. This desire has a strong communal dimension, since these activities involve bringing people together for a shared experience. Also noteworthy is the fact that the demand this represents is for both traditional arts attendance—live performances at concert halls or theaters—as well as informal arts attendance—coffee shops, bars, parks.

This mirrors a national trend in which citizens seek a richness of experience, including arts and culture, found throughout daily life. While they enjoy ticketed performances and other conventional arts experiences, such as visiting a museum, they increasingly desire art that is spontaneous, participatory and readily available.

Events and activities mentioned in this category include a more culturally vibrant Old Town Newhall, public art, art galleries and a local music scene.

The community expresses satisfaction with the quality, variety, availability and affordability of current arts and cultural offerings, while providing valuable messages regarding areas of improvement.

When asked to rate these four characteristics of arts and cultural offerings in Santa Clarita, 27% to 46% rate them as excellent or good, and 26% to 30% rate them as adequate. There are 24% to 45% who rate current offerings as fair or poor. Coupled with the many comments about the desire for higher quality and greater variety of Arts Master Plan

24 offerings, these opinions underscore the opportunity to serve more of the community cultural interests with changes to the programs provided at the current venues, as well the demand for new programs and venues.

Santa Clarita residents express strong interest in celebrating history and cultural heritage as well as more sophisticated, contemporary experiences.

Santa Claritans equally value the past and the contemporary. More than three- quarters of respondents agree with these statements, and nearly as many also express the desire for more offerings that appeal to younger adults. This validates the idea that Santa Clarita is aware of its history and Western heritage, as well as having contemporary and next generation tastes. This may also reflect the community’s long involvement with the film industry, which is both historic and contemporary.

There is consensus that Old Town Newhall is the cultural heart of the city but also a desire to have cultural activities available in other areas.

Planning participants consistently identified Old Town Newhall as the area of the city most associated with culture and the place that should be further developed into a vibrant cultural district. At the same time, while Santa Clarita is a relatively compact city, drive times have increased calls for arts and cultural programs closer to other areas of the city, such as Canyon Country and Saugus. T his is especially true for children’s activities, when parents must drive their children to a location beyond about a ten-minute distance. The desire for activities close to home reflects the general sentiment for informal activities in community settings throughout the city. Moreover, it does not negate the universal perception that Old Town Newhall is the cultural center of the city and that it is and should remain the primary focus of cultural activity.

Children are very involved in arts activities both in and out of school.

Santa Clarita’s children are as arts-involved as adults. Thirty-eight percent of households have children and 43% of survey respondents have children participating in the arts in school, at home or outside of school (e.g., at a community center, library, a private arts provider, church, etc.).

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25 There is strong desire for enhanced arts and cultural opportunities for children and youth.

Along with high arts participation rates for children in Santa Clarita, there is a strong community sentiment for providing them with more and deeper opportunities. This reflects a shared value that arts are important to a child’s education and his/her development. It also reflects the strong value residents place on the arts and seek to impart to young people. Community leaders, parents and educators often articulated the desire to provide not merely more arts activities , but richer, sequential and shared experiences that would develop young people’s skills, knowledge and connectedness.

There is demand for additional class offerings for both children and adults.

There was strong demand for a broad range of class offerings. For children, the top three were visual arts, music, and dance. There is also significant demand for classes in theatre, digital arts, filmmaking, singing, creative writing and cultural traditions. For adults, the top choices were visual arts, cultural traditions, music and dance. There is also significant demand for classes in theatre, creative writing, digital arts, singing, and filmmaking.

Arts and culture are seen as an excellent way to promote diversity and inclusion.

Diversity and inclusion are core values for the City of Santa Clarita and its citizens.

Since 1994, the City has had a Human Relations Forum that produces programs to eliminate all forms of discrimination and promote understanding and appreciation of human differences. Nonetheless, many acknowledge persistent divisions in the community arising in part from differences in race and class . This is a common issue in U.S. communities and often arises in cultural plans, since many view the arts as an effective tool to bring together people and communities, and most local arts agencies address cultural diversity in some way. Arts and culture are already used by the City and Santa Clarita’s cultural organizations to celebrate diversity, bring together populations and foster increased cultural understanding. Planning participants believe in this approach and called for continued and expanded efforts to use arts and culture as a meeting ground for Santa Clarita’s diversity.

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26 It is important to acknowledge and support Santa Clarita’s artists and creatives as a foundation for the community’s cultural development.

Many planning participants called out the central role of the artist in the cultural life of the community and expressed the desire for enhanced support. Santa Clarita already provides support for artists in myriad ways, from its public art program, to its Arts and Community Service Grants, to its concerts and events. Plan ning participants highlighted the opportunity to engage artists and creatives in multiple roles, such as serving in leadership positions, projects in the community, enhancing the arts scene, managing arts-related businesses, and providing arts education programs.

There is very high support for the City taking the leadership role in arts and cultural development.
87% of residents believe the City should fully support, or take a major part in supporting and expanding, arts and cultural opportunities in Santa Clarita. Their priorities for City action are to:
• Provide higher quality arts and entertainment opportunities . • Support nonprofit arts and cultural organizations (facilities, funding).
• Support the development of artists in Santa Clarita (live/work space, rehearsals/performance space).
• Support after-school and summer activities for children/youth and families.

Citizens want to play an active role in the continued development of Santa Clarita’s cultural life.

Santa Clarita’s residents and workers are a relatively engaged population. While they support a lead role for City government in the community’s cultural development, they also want to take an active role in that development and in implementing this plan. They mention providing arts programs to the community, teaching, sharing cultural traditions, networks, committees and public/private partnerships as examples of ways to participate. This is already seen in the community through such efforts as the group formed to renovate the Newhall Arts Master Plan

27 Elementary School Auditorium, private investors creating arts-related businesses in Old Town Newhall and elsewhere, and culturally specific celebrations produced by community groups. One interesting possibility is City facilitation of private investment in arts-related businesses (e.g., City assistance in locating space, permitting assistance, and connecting investors with similar interests).

Community members seek better access to information about arts events and activities.

People have difficulty learning about opportunities that suit their interests. By a large margin, the greatest barrier to their participation is not hearing about what is offered (more than not being interested, traffic and parking, schedules, cost, etc.).

While citizens acknowledge that there is a great deal happening, current marketing efforts are not sufficiently successful. Across-the-board, community members describe frustration in identifying useful sources of information and learning about activities in a timely manner. In fact, the most common way people learn about events is word of mouth. This is a common problem among U .S. cities and it is a challenge to overcome the “noise” of many competing marketing messages in people’s lives.

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28 Arts Funding in California Cities

Sustainable arts funding is an important issue in this plan, as it is in virtually all arts master plans. Santa Clarita has thus far funded its arts programs primarily from its general fund revenues. What are the available arts funding mechanisms for California cities and where might the City of Santa Clarita look to increase and sustain its arts investments? The following are conclusions of a scan of some California cities.

Smaller California cities rely primarily on general funds and program revenues.

Cities that Santa Clarita might consider as comparable all rely on general funds for their arts programs. These cities include Ventura, Oxnard, Lancaster, Thousand Oaks, Glendale and Rancho Cucamonga. They also generate program revenues from admissions, class fees and other user fees.

Larger California cities rely more on a combination of tourism taxes, general funds and program revenues.

Larger municipalities, such as San Diego, San Jose, San Francisco, and Los Angeles County all receive a dedicated portion of their hotel taxes. Some continue to also draw on general funds and generate program revenues.

Nonprofit “Friends of” fundraising organizations in Southern California are almost all associated with a cultural facility.
“Friends of” fundraising organizations are an important source of both capital and operating funds for cultural facilities throughout California. For example, Glendale, Rancho Cucamonga, Thousand Oaks, and Walnut Creek all have nonprofit fundraising organizations that provided capital monies towards the construction and/or endowment of their cultural facilities. They also provide annual operating support, including grants to arts organizations for their use of the facility, that ranges from less than $100,000 to approximately $1 million. This reflects a fundraising truth that donors are often motivated by a commitment to a cultural facility and its role in the community.

Arts Master Plan

29 There are no United Arts Funds in California—organizations that conduct United Way-style fundraising from businesses, foundations, and individuals, and re-grant this money to the arts community.

United Arts Funds represent the type of arts funding organization that the City of Santa Clarita has been interested in forming. They utilize a communitywide appeal to businesses, foundations, individuals, and sometimes employee giving to raise funds for the arts, and then re-grant those funds to arts organizations, sometimes under a preset formula. These organizations have had great success in so me communities in the East, South, and Midwest, notably Charlotte, North Carolina and Cincinnati, Ohio. They have not been successful in California , and there are currently no United Arts Funds in the state. One can only speculate on the reasons why United Arts Funds have not prospered in California, but it may reflect national trends for cause-related marketing by corporations (contributions intended to advance the business goals of the company, and not for primarily philanthropic purposes) and “venture philanthropy” (contributions where the donor retains a large share of control). Each trend is antithetical to the mission of a united fund, where funds are often re-granted to arts organizations for general operations and where the donor has little control over the use of their contribution.

There are a variety of additional municipal funding mechanisms in California for special purposes.

Additional funding mechanisms are familiar to those in the field of municipal finance and are sometimes adapted to arts purposes. These include general obligation and revenue bonds for capital projects and percent for art programs.

Sponsorships are an important source of revenues for special events and festivals.

Santa Clarita is already familiar with the use of sponsorships for the Cowboy Festival and other City events. They are a natural way to involve local businesses because of the confluence of interests presented by an attractive and visible cultural program.

Arts Master Plan

30 Grants from the State and Federal Governments, and from private foundations, are useful sources of one-time funding.

The California Arts Council, National Endowment for the Arts , other federal and state agencies, and some private foundations make grants to cities. It is important to note that these are not a reliable source of annual operating support. However, they can be valuable in capital projects, seed funding, and placemaking projects.

Examples of potential grants for Santa Clarita include the National Endowment for the Arts Our Town program (http://arts.gov/grants-organizations/our- town/introduction) and Art Works program (http://arts.gov/grants- organizations/art-works/local-arts-agencies); grant awards in these programs typically range from $20,000 to $200,000. ArtPlace, a collaboration of private foundations and federal agencies, offers grants for creative placemaking (http://www.artplaceamerica.org); ArtPlace grant awards range from $50,000 to $500,000. The California Arts Council provides grants to local arts agencies through its Creative California Communities program (www.cac.ca.gov/programs/ccc.php); grant awards in the most recent year ranged from $23,200 to $67,900. While all these grant programs are competitive, a well-composed proposal that aligns with the priorities of the program can be successful, and many Californian and exurban cities receive grants each year.

Arts Master Plan

31 The Community’s Vision
for Cultural Development

Arts Master Plan

32 The Community’s Vision for Cultural
Development

Several visioning exercises were conducted as part of the planning process for the Santa Clarita Arts Master Plan. Visioning was done by the City Council and Arts Commission during a joint workshop, and by the Stakeholder Committee. In each of these sessions, participants were asked to identify elements of a vision for the community’s cultural future, answering the question, “What would success look like?” Participants were asked to take a long view, perhaps ten years; to go beyond a list of needs or wants to focus on larger aspirations; and to identify the desired impact on the community resulting from successful cultural evolution. The collective vision articulated by these processes was corroborated and validated by the community survey and other community engagement.

The following vision statement represents the community’s collective definition of successful cultural development in Santa Clarita in the coming decade:

The City of Santa Clarita will be recognized as a
“city of the arts,” where the lives of residents, artists, and visitors are enriched through artistic and
cultural experiences.

Arts Master Plan

33 Conclusions

Arts Master Plan

34 Conclusions

The community engagement and vision lead to several conclusions about Santa Clarita’s cultural identity and future.

First, Santa Clarita has articulated a vision of elevating its cultural life. As a relatively young community, located adjacent to one of the world’s cultural capitals, Santa Clarita is coming of age in cultural terms. Its tastes and the scope of its cultural interests have expanded. Its population has grown and diversified. The community’s vision is not merely for more, but rather an evolution in the way arts and culture fit in the community: increasing the quality and sophistication of local offerings, enabling community creativity, celebrating diverse cultures, and going beyond children and families to meet the needs of young adults.

Second, Santa Clarita is also in the process of becoming more than a suburb of Los Angeles. It is transforming into an exurban, regional place proclaiming its own distinct identity. In cultural terms, this is reflected in the community’s desire to have more available locally, but beyond this, to establish Santa Clarita as an arts city and destination, and to build on its authentic identity as a Western frontier settlement, longstanding film industry location, and an increasingly sophisticated contemporary community.

Third, there is a voice in Santa Clarita favoring greater diversity and inclusion in its cultural life. While still a predominately white population, the community has become more diverse and, as is true throughout southern California, people of all backgrounds embrace cultural diversity.

Fourth, the community provided a strong vote of confidence for the City to continue its leadership position in the arts, while sharing it with partners and enabling creative activities of citizens and the creative community.

Lastly, while this plan is for more than City action, one focus is to define an appropriate role for the City in meeting the cultural needs of citizens. For the past two decades, the City has focused its municipal resources on building a basic

Arts Master Plan

35 cultural infrastructure for the community: the Arts Commission, a capable local arts agency (the Arts and Events Office), a suite of programs and events, a nascent public art program and carefully targeted investments in cultural facilities. In the coming decade, the City can most effectively focus on strategies that meet the evolving cultural interests of citizens and that enable the community as a greater partner in cultural development.

These conclusions can guide decision-making about cultural policy as the plan is implemented, as circumstances change, and as new opportunities or challenges arise.

Arts Master Plan

36 The Plan: Recommendations

Arts Master Plan

37 The Plan: Recommendations

The Santa Clarita Arts Master Plan is organized according to three overarching themes and accompanying focus areas.

Theme 1. Enhancing Cultural Vitality in the Community

• Public Art
• Old Town Newhall Arts and Entertainment District
• Arts Education

Theme 2. Strengthening Cultural Support Systems

• Governance of the Arts
• Cultural Facilities, Venues and Spaces
• Supporting Artists and Arts Organizations
• Arts Funding
• Creative Economy
• Marketing the Arts

Theme 3. Fostering Greater Diversity and Inclusion

• Celebrating Diversity

Arts Master Plan

38 Theme 1. Enhancing Cultural Vitality in the
Community

1. Public Art

Public Art Overview

The City of Santa Clarita developed several public art projects in the late 1990 ’s and early 2000’s, and a more evolved public art program was initiated in 2009, with the formation of the Arts Commission. Since 2009, sixteen works have been commissioned for locations throughout the city. These projects have been created on a one-off basis, with varying budgets and funding sources. The City has not adopted a systematic, percent-for-art program to provide a long-term mechanism to fund public art, although two proposals to enact such a program were researched by staff. It was determined that the community was not ready to support the program at that time. The City has suspended its public art activities pending the completion of the Arts Master Plan process.

During the planning process, several other issues relating to public art have emerged:
• The desire to make Old Town Newhall a showcase for public art. • The need to develop a systematic approach to funding, commissioning, and approving public art, through the enactment of a percent-for-art ordinance for public projects.
• The opportunity to integrate public art and aesthetics into the City’s infrastructure.
• The current approach to public art produces a series of “one-off” projects that do not reflect an overall vision for the role that public art can play in the artistic development of the city.

Since 1959, when Philadelphia passed the first percent-for-art requirement, more than 600 American cities and counties have established public art programs. These programs require that one to two percent of a capital improvement project be devoted to the commissioning or purchase of art to be included in new public projects. Increasingly, this requirement is being extended to new private Arts Master Plan

39 commercial, industrial and residential development. These public art programs are instituted for several reasons. At the most basic level, public art can make public spaces more attractive and enjoyable. Public art can also reflect the history, values and aspirations of a community. In some cases, public art is used to identify neighborhoods or zones within a city, or to mark the entrances to the community.

Often public art is used to increase the utilization of public facilities. For instance, dozens of transit agencies across the country have instituted public art programs and have recognized that interesting and well-designed facilities boost ridership.

Santa Clarita has many sites and public spaces that would benefit from art treatment, including the Old Town Newhall district, along major transportation corridors and roundabouts, in the City’s parks, and at the entrances and gateways to the city and its neighborhoods. When Santa Clarita residents and workers were asked in the community survey what the City should focus on to meet residents’ arts and entertainment needs, about one-third of respondents indicated a desire for more public art projects to enliven the cityscape. The Arts Commission has been interested in developing a public art program and has sponsored several events to begin to introduce public art to the community.

Arts Master Plan

40 Ways to Improve Public Art

1.1. The City should implement a public art planning and selection process that utilizes peer review and
community input during the process to ensure that
public art pieces meet the goals of providing
enjoyable and attractive public spaces that reflect the character of the community.

On the face of it, implementing a public art program seems very straightforward:
identify a site, select an artist, commission the design, and install the art. However, public art programs are actually procedurally complex and should be developed by means of thoughtful planning. The planning process can be a vehicle to prepare the community for new public art, with procedures to ensure meaningful community engagement with the projects and avoid unintended controversy.

The artist selection process should be similarly modeled after the current approach to projects that are reviewed by the Planning Commission. This model would allow for the Arts Commission to lead the artist selection process by selecting the artist and artwork concept for each identified public art project in the annual work plan, and provides an opportunity for the community or City Council to appeal the Arts Commission’s decision. If an appeal is filed, it would be placed on the City Council agenda for consideration, and the City Council would make the final decision.

These procedures should be codified in the Percent for Art ordinance that is proposed in Recommendation 1.3.

The artist selection process should include the following steps:
• The Arts Commission will identify public art projects in their annual work plan (Recommendation 4.2.). The work plan should identify public art projects for the coming year, with details about locations, themes, and the funding needed to successfully achieve the completion of the artworks. The public art section of the annual work plan would be created in conjunction with the Capital Improvement Projects program.
• The annual work plan would be reviewed by the Arts
Subcommittee of the City Council (Recommendation 4.2.).

Arts Master Plan

41 • The annual work plan would be reviewed and approved by the City Council.
• The Arts Commission Chair will create an Ad Hoc Artist Selection Committee (ASC) for each public art project. The Selection Committee should include five members, an Arts Commissioner, a professional public artist, a professional arts administrator, a local professional artist, and a community member.
• The Ad Hoc Artist Selection Committee develops a Call for Artists (Request for Qualifications) for the project.
• The Call for Artists is shared with the Arts Commission for review and approval.
• The Call for Artists is released and publicized regionally and nationally.
• The Ad Hoc Artist Selection Committee reviews the artist submittals for the project and selects three to five artists to develop their concepts for the project. The number of artists selected should be based on the budget and scope of the project. • The selected artists are paid a portion of the total cost to develop their concepts for the project.
• The artists present their concepts to the Ad Hoc Artist Selection Committee, who selects one artist/concept to create the art piece.

If the Selection Committee does not believe any of the concepts are acceptable, then a new Call for Artists will be released and the process will restart.
• The Ad Hoc Artist Selection Committee presents their selection to the Arts Commission for review and approval. If the Arts Commission does not approve the selected artist/concept, then a new Call for Artists will be released and the process will restart. • For thirty days after the Arts Commission approval, any member of the community or City Council can file an appeal. If no appeal is filed, then a contract is signed with the artist and they begin to fabricate their art piece. If an appeal is filed, the project would go to the City Council to review the process and selected
artist/concept. If the project is not approved by the City Council, then a new Call for Artists will be released.

The committee make-up of the Ad Hoc Artist Selection Committees allows for both peer review, through the representation of the professional public artist, the Arts Master Plan

42 arts administrator, and the local professional artist, and provides a community voice through the local artist, the community member, and the Arts Commissioner.

It is recommended that the professional public artist and the professional arts administrator be offered a stipend to cover their travel costs, as ideally these representatives would be from outside the Santa Clarita community.

1.2. The City should utilize existing neighborhoods to
create thematic areas for public art projects, which will allow for a more consistent and cohesive inventory of
artworks.

In reviewing the existing public art projects in Santa Clarita, it appears as if there has been an approach that has resulted in little cohesion in the themes of the pieces. The “one-off” nature of the projects does not allow for the impact of the artworks to reach their full potential in creating engaging public space. A potential solution to this issue is to identify thematic approaches to the pub lic art for various communities within Santa Clarita, and to make sure that the annual public art plan , and the resulting Call for Artists for each project, reflects the identified themes appropriate for each area where the artworks will be installed.

During the community engagement for this plan, several priorities for the future were identified, which can serve as themes for various areas of the community.

Applying these priorities to the development of future public art projects, it is proposed that the following themes be utilized:
• The Newhall area will focus on public art pieces that celebrate Santa Clarita’s history and cultural heritage.
• The Valencia area will focus on pieces that offer contemporary and abstract art pieces.
• The Saugus area will have pieces that celebrate youth and families, and should include works that highlight the cultural diversity of the community.
• The Canyon Country area will explore nature, the surrounding open spaces, and the environment.

These themes should serve as a guide for future permanent and temporary art pieces during the planning and selection process. It is important to note that these Arts Master Plan

43 themes should not be restrictive in terms of medium or approach. To illustrate this point, a piece developed for Newhall could celebrate the history of the community, but be realized in a contemporary way through the piece’s materials or artistic approach. The goal of these themes is to provide a context for the artists to react to, rather than to be a limitation on the creativity of the artists.

An exception to the above themes would be in the area of memorials or pieces that recognize the contributions of individuals or groups that have served the community. Projects that serve as memorials should not be restricted to any one area of the community. Santa Clarita is a community that values the service of others, be they veterans, police and firefighters, or community leaders, and it is essential that artworks that celebrate this service should not be limited to one area, but anywhere deemed appropriate. The themes should also not be applied to communitywide or regional art pieces, except as deemed appropriate in the planning process.

1.3. The City should enact a percent-for-art requirement for all new public capital improvement projects.

The development of a public art program has been one of the highest priorities expressed by the Arts Commission and key stakeholders. It is recommended that the City enact a percent-for-art ordinance to implement this program. This requirement should apply to all future City Capital Improvement Projects, including, but not limited to, all buildings, structures, streets, bridges, and utilities.

It should apply to all new construction and any major renovations that create new or expanded uses for a facility or structure. To the extent permitted, monies generated under this ordinance should be able to be aggregated and/or transferred to any public art project.

1.4. The City should explore extension of the percent-for- art requirement to new private development
including commercial, industrial and multi-unit
residential projects.

The percent-for-art requirement could also be applied to all future private commercial, industrial and multi-unit residential projects with a permit valuation in excess of $1 million. If the private project developer prefers not to place public art Arts Master Plan

44 within the project, the developer should have an option to deposit with the City an amount equal to 1.0% of the permit valuation as an in-lieu fee. Any such fees should be deposited in a segregated public art account for public art elsewhere in the city. Any proposals for public art projects in private development should have prior review and approval of the City’s Arts Commission.

1.5. The City should consider issuing a Request for
Qualifications for an “on-call” artist to work with
various City departments and the Arts Commission to
suggest aesthetic enhancement for small-scale public
improvements.

Until the City adopts a percent-for-arts program, there are some opportunities to begin developing public art pieces in a modest way. Transportation projects present especially rich opportunities for art to enhance the built environment. They are highly visible. Everyone uses them. Without design embellishment, they are usually boring and banal. Potential projects include the entryways to the city, bridges, roundabouts, bus shelters, sidewalks, and sound walls.

It is proposed that City departments work with the Arts and Events Office staff to utilize artists to serve as “on-call” advisors on major City projects. This artist would not necessarily or likely produce any artworks. Rather, the artist would work with department staff to develop strategies to incorporate art or aesthetic elements into the projects in the early stages of design. Often this will result in fully integrated design elements. If a concrete wall is included in the project, the artist might suggest embedding a design into the concrete formwork. This app roach involves minimal costs, with high aesthetic impact. Using an on -call artist for City projects might entail a budget of $10,000 - $15,000 annually, paying the artist $100/hour for their services on an as-needed basis. This is a process that the City has used on several earlier projects.

1.6. The City should create a program of temporary public art.

One very successful strategy that has been used in communities beginning a public art program is to install temporary public art projects. Programs such as this have Arts Master Plan

45 been implemented along the waterfront in San Diego, in downtown Salt Lake City and along the Arizona Canal in Scottsdale. The advantages of this approach are several: the community is introduced to public art in a context where there is no expectation of permanence. A wide variety of art in various media, themes, and styles can be presented at relatively modest cost. It provides an opportunity for local and regional artists to display their work in a public setting when that opportunity might not otherwise be available. Typically, the City provides the site and a base or plinth to receive the works. Artists submit designs that are reviewed by a jury of art professionals. Selected artists are paid a small honorarium to cover their materials and costs. The artists install the work that is displayed for a fixed period—six months to a year. At the end of the display period, the artist removes the artwork and a new round of projects begin. This would be an interesting approach to art in Old Town Newhall, along major thoroughfares, or in any of the City parks. This program would involve an initial investment to install the sculpture bases, and would require an annual budget of approximately $30,000 to $40,000 to manage the program and to install 10 to 15 temporary works. It may be possible to find a local sponsor to defray all or part of the cost of such a program.

Public Art Recommendations

1.1. The City should implement a public art planning and selection process that utilizes peer review and
community input to ensure that public art pieces
meet the goals of providing enjoyable and attractive
public spaces that reflect the character of the
community.

1.2. The City should utilize existing neighborhoods to
create thematic areas for public art projects, which
will allow for a more consistent and cohesive
inventory of artworks.

1.3. The City should enact a percent-for-art requirement for all new public capital improvement projects.

Arts Master Plan

46 1.4. The City should explore extension of the percent-for- art requirement to new private development
including commercial, industrial and multi-unit
residential projects.

1.5. The City should consider issuing a Request for
Qualifications for an “on-call” artist to work with
various City departments and the Arts Commission to
suggest aesthetic enhancement for small-scale public
improvements (estimated cost $10,000 - $15,000
annually).

1.6. The City should create a program of temporary public art (estimated cost $40,000 - $50,000 annually).

Arts Master Plan

47 Public Art Update

One very successful strategy that has been used in communities beginning a public art program is to install temporary public art projects. Programs such as this have been implemented along the waterfront in San Diego, in each of Pasadena’s seven Council Districts, around City Hall in the City of Culver City, and on medians and parks within the City of West Hollywood. Developing a public art program with a clear planning and selection process was one of the key motivations for the development of the Arts Master Plan. Both the City Council and the Arts Commission expressed the need for a clear process to ensure that art projects were able to be created for the community and to allow for the public art program to grow in the future.

As recommended in the Arts Master Plan, the City Council approved the Public Art Planning and Selection Process (Recommendation 1.1) in fall 2016, which has offered a systematic approach for thoughtful planning to ensure meaningful community engagement. In March 2020, the Arts Commission Public Art Committee updated the Public Art Planning and Selection Process to incorporate refinements that had been through the process during the first three years of the public art program after the adoption of the Arts Master Plan.

In fall 2017, the City Council approved the Civic Art Policy (Recommendation 1.3), which enacts a percent-for-art requirement for new City Capital Improvement Projects that qualify under the policy. For the 2020-21 fiscal year, three projects qualified to allocate 1% of the eligible project costs for public art : the Canyon Country Community Center, the Santa Clarita Valley Sheriff’s Station , and the Vista Canyon Multi Modal Center.

In spring 2018, the City of Santa Clarita hired two public art consultants (Recommendation 1.5) to assist with the development of the public art projects for new capital improvement projects. In summer 2021, the City resolicited for a public art consultant for a one-year contract with three additional annual renewals.

In the Arts Commission 2018 Work Plan, received by City Council in September 2017, the Commission prioritized the creation of a program of temporary public art Arts Master Plan

48 (Recommendation 1.6). The Arts Commission developed a Tempora ry Public Art Proposal and in summer 2019, the City Council approved funding for a temporary public art program.

Public art enhances our local community by making public spaces more inviting, promoting discussion of arts, and reflecting the history of Santa Clarita.

Public Art Recommendations

1B.1 The City should expand the temporary public art program to include a broader range of art forms, including assistance for temporary performance art.
1B.2 The City should update the language in the documents that are part of the public art planning and selection process to ensure that artists of all backgrounds are encouraged to participate in the program. This recommendation aligns with the Diversity and Inclusion Committee Statement.

Arts Master Plan

49 2. Old Town Newhall Arts and Entertainment District

Description of the Current District

Old Town Newhall is Santa Clarita’s arts and entertainment district, home to the Repertory East Playhouse, Canyon Theatre Guild, the William S. Hart Museum and the distinctive Old Town Newhall branch of the Santa Clarita Public Library .

Newhall was the earliest permanent settlement in the Santa Clarita Valley, established in 1876 in conjunction with the construction of the Southern Pac ific Railroad. This area was a Western town founded on oil, mining and railroad workers. The community was a stop on the historic Butterfield-Overland Stage route through what is now the Newhall Pass. Newhall is also the site of the original ridge route, portions of which remain north of the City in the community of Castaic.

Old Town Newhall consists of 271 acres and is comprised of several parts: two flanking neighborhoods which are separated from one another by the railroad and Downtown; a 15-block Downtown and three existing commercial arterial corridors that each connects back to greater Santa Clarita. Within one mile of Old Town, there is the The Master’s University and historic William S. Hart Park. Newhall was originally platted in 1889 into approximately 50 blocks with much of that pattern intact.

The Newhall District has been the subject of an area specific plan which was adopted in December 2005 and revised in May 2014. The Specific Plan area consists of a 20-block downtown served by Metrolink commuter rail, a commercial corridor in downtown, two flanking neighborhoods, and an industrial district. Upon build-out, the Specific Plan envisions up to 1,092 new residential units and nearly 1 - million square feet of new commercial space. A portion of this growth will be attributed to new development, while some will also include revitalization of existing buildings.

There are several goals of the Specific Plan that are relevant to the development of Old Town Newhall as a vibrant arts district:
• Making great public places
Arts Master Plan

50 • Making great streets
• Increasing downtown residents
A number of projects were envisioned in the Plan, several of which were completed before the demise of the redevelopment authority. The loss of the financing through the Redevelopment Agency has limited progress toward completing these projects.
• Mercado and Plaza: This proposed commercial building and civic space will appeal to the community at large in that no such feature exists elsewhere in the City. This building and civic space represent the collection of numerous merchants offering products such as fresh produce and specialty items ranging from food and produce to clothing and cafes.
• Museum: This component of civic infrastructure is probably the most exciting and the most challenging to realize because it is regional in scope. However, this museum will serve to broaden the appeal of Old Town Newhall among the greater community of Santa Clarita. Possible types include a Children’s or Science- oriented Museum.
• Hart Park Gateway and Entrance: The physical relationship between Old Town and Hart Park is weak and proposed for enhancement by the Plan. This project will visually and mentally extend each place into the other.
• Main Street Retail and Independent Cinema: The presence of a three to six screen cinema and associated retail will enliven the north end of Main Street while announcing to the regional traffic passing by that something exciting is offered in Old Town Newhall.
• Transit-Oriented Housing: There are a few sites, east of the Metrolink Station, in the East Newhall neighborhood, and on Main Street that will provide much needed transit-oriented housing with great proximity to the overall downtown area. This neighborhood is one of several areas in the Plan expected to receive development of the type that appeals to those wanting to live near transit.
• William S. Hart Park: This facility, immediately adjacent to Old Town Newhall, contains 265 acres of which 160 are deeded to the County as 'wilderness.' The Park is the former ranch of Mr. Hart and was previously named "Horseshoe Ranch." The Park consists Arts Master Plan

51 of the wilderness acreage, a picnic and camping area with an equestrian trail, a barnyard animal area including a 20-acre bison preserve, a 1910 ranch house, a collection of 19th century bu ildings known as Heritage Junction, and Mr. Hart's personal residence "La Loma de Los Vientos" (The Hill of The Winds). The Specific Plan seeks to pay further tribute to this legacy and does so in two major ways: a) by addressing the Park's Newhall Avenue frontage and, b) by relocating a historic building to provide a visitor's center to Old Town and Hart Park.
• Pardee House: The Pardee House (c. 1890) is proposed to be relocated from Heritage Junction, to the northwest corner of Newhall Avenue and Pine Street. Prior to being moved to Heritage Junction, the building was initially used as a 'Good Templars Hall' in 1890 in Newhall.
• Creative Industry District: Production in the arts, culture and entertainment industry is one of the most dynamic segments of the Los Angeles County economy. Frequently, artists and craftspersons in these industries are seeking large-scale industrial live-work space that can serve flexibly as workshops, exhibition space, and as a primary residence. The residential component in this area is purely in service to the business and/or operation on a particular property. Creative industries are compatible with existing industrial activities but suitable locations that recognize this as a compatible land use are increasingly scarce. It is proposed that the existing industrial tracts (blocks 49a and 49b) east of Pine Street and south of the railroad tracks be dedicated to such activity, in a manner that would attract tenants from throughout the region.

All of these projects have the potential to contribute to a lively and vibrant Main Street and several of them will help establish the arts and entertainment district as a destination for residents and visitors alike. A number of projects have been completed to date, these include:
• Old Town Newhall Library: 30,000 square foot, state-of-the art LEED certified facility which opened September 29, 2012. • Veteran’s Historical Plaza: Public plaza hosts annual special events.
• Streetscape Improvements: Landscaping and hardscape
improvement and pedestrian-friendly amenities provide great

Arts Master Plan

52 opportunities for sidewalk dining, on-street parking for shoppers and a great backdrop for hosting special events.
• Old Town Newhall Roundabout: Completed January 2014 to allow for smoother travel to and from Old Town Newhall, while lessening traffic and emissions.
• Pedestrian Improvements: Sidewalks feature landscaped parkways and trees for a charming, pedestrian-friendly aesthetic that buffers the sidewalk from traffic lanes.
• Creekview Park: Five-acre community park with great amenities and play areas.
• Newhall Community Center: This facility hosts over 30,000 community members annually who are enriched through a wide array of leisure, educational, and arts and cultural programming and events.
• Newhall Metrolink Station: The transit station serves 250 train riders and 530 public transit riders each weekday and provides parking for Old Town Newhall.
• Small Business Incubator: A collaboration of the City, College of the Canyons and the Small Business Development Center to support creative and technology focused start-up companies. • Hart Park frontage/facade project.

The Old Town Newhall district is already an important site for arts and entertainment programming. Recent events sponsored by the Old Town Newhall Association include the Old Town Newhall Car Show, Street Chalk Art, Vintage Christmas, OTN Antique Appraisal, and an Octoberfest celebration. Increasing the level of programming will serve to make Old Town Newhall a more desirable and “sticky” destination for a day or an evening out.

The Specific Plan has several recommendations that will be especially important in establishing the Arts and Entertainment District: the proposed museum, the creative industry center and the inclusion of public art.

Ways to Improve the District

The City has designated Old Town Newhall as its Arts and Entertainment District and has invested in its development in a variety of ways over a sustained period of Arts Master Plan

53 time. It has provided funding for two of the small theaters on Main Street, built the new library, done streetscaping, and provided arts programming. An independent movie theater is planned for Main Street. Nonetheless, the consensus of planning participants and City staff is that the District is not yet fulfilling its potential a s the cultural heart of the city.

There are several things that must happen if Old Town Newhall is to become a more fully realized arts and entertainment district. It needs one or two additional “anchor” cultural organizations, such as a museum and the elementary school auditorium. It needs the presence of working artists. It needs strong public art to establish its arts character. And it needs enhanced arts and entertainment programming. This programming should be eclectic, catering t o a wide variety of interests—everything from food truck rodeos to ethnic festivals to crafts fairs to pop-up galleries to live music events. The City should actively facilitate and promote these activities, ensuring that permitting and regulations do not impose barriers.

2.1. The City should explore taking management of the
renovated Old Town Newhall Elementary School
auditorium and actively program it.

This WPA-era auditorium has been the subject of community plann ing for more than twenty years and the charming proposed 583-seat auditorium has great potential to become one of the needed anchor cultural institutions in Old Town Newhall. It is owned by the Newhall Elementary School District, which has secured bond funding to partially fund its renovation. A community group has commenced a $600,000 campaign to complete the needed renovation budget. The school district prefers to not operate the theater although it does want to use it for instructional purposes and is contemplating converting the school into an arts magnet.

There are compelling reasons why the City is an excellent choice to manage the Newhall Elementary School Auditorium. The City can be a neutral broker representing the whole community’s interests in scheduling its use by community organizations. It also affords the City a relatively inexpensive way to obtain a cultural facility that is historically significant, reinforces the community’s unique Arts Master Plan

54 character, supports the revitalization of Old Town Newhall, and provides much - needed programming for children and families.

The theater can be a venue for presenting by the City arts staff as well as a facility used by local arts organizations. It could also be the site for part of the film festival that is recommended later in this section of the plan.

2.2. Explore planning for a museum in Old Town Newhall.

Part of the challenge in creating a successful arts district is achieving the critical mass of activities and venues to ensure that the visitor can have a variety of cultural experiences. A museum would be a second anchor cultural institution. This museum has been recommended in the Old Town Newhall specific plan, which suggests that it could take one of several forms: a center of innovation and creativity, an art museum, a history museum, or a children’s disco very museum. A children’s museum would guarantee that there are family-oriented activities in the district. Depending on the nature and size of museum planned, capital costs could range from $10 million to more than $100 million, and annual operating costs could range from approximately $1 million to $4 million.

2.3. Develop an ongoing program of public art placement in Old Town Newhall.

The Old Town Newhall specific plan identifies several goals for such a program, “In order to create a clearer image for Newhall, public art is to focus on the historic, cultural, and natural character of this community and/or its region.” Whatever program is developed, it must provide a balance of traditional and contemporary art styles. Public art projects will have many beneficial effects in Old Town Newhall. It will:
• Unify the community
• Create useable and desirable public spaces
• Improve streetscapes and other public corridors aesthetically • Provide interest to the open space corridors
Arts Master Plan

55 The specific plan also suggests that the City initiate a program for encouraging public art in both public and private development in the district. It suggests requiring public art for projects that meet certain thresholds (e.g., 15,000 square feet). An option would be to establish a fee (e.g., 1% of the project’s value) that is due at certificate of occupancy and collected by the City for deposit into an Old Town Newhall Public Art Fund. This fund would collect fees from all development over 5,000 square feet with the objective of producing public art in various locations throughout Old Town. The recommended citywide percent -for-art program would fulfill this strategy in the Old Town Newhall specific plan.

One useful approach would be to implement a program of temporary public art along Main Street. This approach would allow the presentation of a concentration of public art relatively quickly and at modest expense. This strategy is explained more fully in the Public Art section of this plan.

2.4. Begin development of a creative live/work facility in Old Town Newhall.

The visible presence of artists and art-making are essential to the success of the arts district, Experience in many cities has demonstrated the power of artist concentrations to revitalize neighborhoods. This facility can become a hub and gathering place for creative professionals in Santa Clarita. As noted above in an excerpt from the Old Town Newhall specific plan, the district is singled out as a desirable location for businesses in the creative industries including specific industrial tracts for live/work spaces. Live/work projects are typically financed through a variety of sources: municipal and other governmental sources, foundations, tax credits and other incentives, as well as financing amortized by the rental or sale of the spaces.

There are nonprofit developers that specialize in arts facilities, such as Arts pace (http://www.artspace.org) and PLACE (http://welcometoplace.com). Such a developer would be an effective choice to explore the feasibility of a specific project and to potentially serve as the lead developer. An excellent local example of their work is Working Artists Ventura (WAV, http://www.wavartists.com).

Opened in 2010, this mixed-use development in downtown Ventura’s cultural district includes 69 units of affordable live/work space for artists , a small Arts Master Plan

56 performance/exhibition space and retail businesses. The total cost was $57 million, of which the City of Ventura provided $2.5 million, primarily in the form of land and planning costs.

2.5. Provide incentives for art galleries in Old Town
Newhall.

The Old Town Newhall Art and Entertainment District should be a place of “art commerce,” where residents and visitors can purchase the art of local and regional artists. At the same time, running an art gallery is a tough business; it takes time to establish a reputation and a regular clientele. A gallery owner must find the ri ght roster of artists to appeal to potential customers. A critical mass is crucial: a single gallery may struggle, while a group of galleries will prosper. The City should identify strategies to provide incentives to gallery owners to locate in Old Town Newhall. One way this effort might be jump-started would be to provide space for an artist co-op gallery, where the gallery would be operated and managed by the artists themselves. Another strategy might be to work with CalArts to establish a gallery highlighting work of their students.

2.6. Develop a film festival drawing on Santa Clarita’s heritage and ongoing relationship with the film
industry, and utilizing the collection of small venues
in and near Old Town Newhall.

The idea of a film festival has been widely discussed among cultural stakeholders and city planners in Santa Clarita. It is a natural fit with the valley’s long and continuing history with filmmaking. It also draws inspiration from the success of the City’s first cultural festival, the Cowboy Festival, which has become a staple of the national cowboy and Western heritage event calendar. A film festival, centered in Old Town Newhall, could also tie together the significant collection of small venues located in and near Old Town Newhall. These include:
• Exploration of an independent cinema at the corner of Main Street and Lyons Avenue.
• Canyon Theatre Guild (280 seats), located on Main Street. • Repertory East Theatre (81 seats), located on Main Street.

Arts Master Plan

57 • Newhall Elementary School Auditorium (not renovated yet, 583 seats), located on Walnut Street, between 11th and 12th Streets. • Hart Hall, a restored historic barn building in William S. Hart Park adjacent to Old Town Newhall (200 seats).
• Heritage Park, adjacent to Hart Hall, a small Western town that includes the Old Train Station (Old Depot) and several other old buildings.
• Near Newhall: the Walt Disney Company is in the process of building new sound stages for ABC Studios at the Golden Oak Ranch a few miles away.
• Not in Newhall: the UCLA Film Archives, which has two screening rooms, is a $250 million facility nearing completion in a location near CalArts.

The City should contract with a qualified programmer to create the concept and plan for a film festival. This type of festival could meet a broad range of Santa Clarita’s audience interests—Western heritage, film history, sophisticated contemporary, families and children—and over time it could become a regional or national attraction. One idea is to not limit the festival to a brief time period but continue themed programming based on the specific venues throughout a longer season of events, which would also serve to activate the Old Town Newhall Arts and Entertainment District. The film festival also has strong potential appeal for sponsorships.

2.7. Explore development of Santa Clarita Valley historic assets as a collection of attractions, including Old
Town Newhall, William S. Hart Park, and further
development of Mentryville and other sites (Newhall
Pass, St. Francis Dam site, Golden Spike Railroad site, old filming locations).

As described in the Community Description chapter, Santa Clarita has a compelling history of Native American settlement, early California and Western history, and a century-long relationship with the film industry. There are many historic assets in the city that celebrate this heritage and tell the stories of the valley’s history.

Examples are located in and near Old Town Newhall—the William S. Hart Park, Arts Master Plan

58 Melody Ranch Studio, Cowboy Festival, Santa Clarita Valley Historical Society , and history-themed businesses—with additional places located throughout the valley.

Community engagement for this plan illustrated that residents and workers are well aware of this history and believe it should form a part of the community’s cultural development, along with providing more sophisticated and contemporary fare and offerings that appeal to younger adults. Developing these historic properties and programs could advance these interests and bring broader attention to Santa Clarita. This is a visionary and authentic direction for Santa Clarita, one that fits the community’s aspirations and is worthy of pursuit. It is also a far- reaching and potentially large investment that will necessitate additional research and planning to fulfill. The potential benefits of investing in ways to leverage the valley’s historic assets include promoting Santa Clarita as a cultural destination, increasing tourism, and greater support for the City’s cultural programs.

Old Town Newhall Arts and Entertainment District Recommendations

2.1. The City should explore taking management of the
renovated Newhall Elementary School auditorium
and actively programming it.

2.2. Begin exploration of a museum in Old Town Newhall.

2.3. Explore an ongoing program of public art placement in Old Town Newhall.

2.4. Begin development of a creative live/work facility in Old Town Newhall in partnership with private and/or
nonprofit developers.

2.5. Explore providing incentives to create a concentration of art galleries in Old Town Newhall.

2.6. Explore development of a film festival drawing on Santa Clarita’s heritage and ongoing relationship with
Arts Master Plan

59 the film industry, and utilizing the collection of small venues in and near Old Town Newhall.

2.7. Explore development of Santa Clarita Valley historic assets as a collection of attractions, including Old
Town Newhall, William S. Hart Park, and further
development of Mentryville and other sites (Newhall
Pass, St. Francis Dam site, Golden Spike Railroad site, old filming locations).

Arts Master Plan

60 Old Town Newhall Arts and Entertainment
District Update

The City of Santa Clarita has continued to invest in Old Town Newhall, including taking over the management and operations of a small arts venue on Main Street, The MAIN, as an arts center in early 2017. This was not foreseen during the development of the Arts Master Plan, as the venue was being managed by the Repertory East Playhouse at the time.

The Newhall Elementary School auditorium was reopened in 2017 as the Newhall Family Theatre for the Performing Arts, after more than 40 years of being closed to the public. The refurbished 540-seat venue is being managed by the Newhall School District for the benefit of the community. The City has entered into a multiple-year agreement to financially support the operations of the facility and to ensure that there is time for community groups to utilize the venue (Recommendation 2.1).

The City launched a new film festival, the Newhallywood Silent Film Festival, in 2019 to celebrate Newhall’s rich silent film heritage (Recommendation 2.6). The festival was produced in partnership with the Natural History Museum of Los Angeles County and the Los Angeles County Department of Parks.

The Arts Commission is currently working on several of the other recommendations in this focus area, including exploring museums, placing public art in Newhall, and developing a creative live/work facility.

Old Town Newhall Arts and Entertainment District Recommendations

2B.1 Explore the development of a program that offers pop-up and mobile museum experiences in Old Town Newhall. This recommendation aligns with the Diversity and Inclusion Committee Statement.
2B.2 Create outside spaces that can serve as a hub for various arts and cultural opportunies for the community.

Arts Master Plan

61 3. Arts Education

Arts education for children is a priority for Santa Claritans. Parents and other residents share a strong belief in the value of the arts as part of a child’s whole education. The positive outcomes for students studying the arts are well- documented as is their essential value in promoting twenty-first century workforce skills. The five school districts serving Santa Clarita all offer some level of arts education in partial fulfillment of the California Visual and Performing Arts curriculum standards, and four of the school districts participate in Arts for All, the countywide agency promoting K-12 arts education and widely regarded as a national model. In addition the College of the Canyons sponsors a K-12 Consortium to foster arts education in the public schools and the Santa Clarita Valley Education Foundation provides some support for arts education programs. Many local arts organizations and other nonprofits in the community provide arts education programs. All three institutions of higher education in the city—CalArts, College of the Canyons and The Master’s University—offer arts programs.

Education and arts education are a value that is broadly shared in the community.

Residents and workers, and their children, personally participate in, and approve of, arts learning at high levels. They express a strong demand for arts classes of a very broad range of disciplines. Arts education emerged as a theme in this plan, including as a priority for City action. Survey respondents indicate a high demand for arts classes of a broad range of disciplines. Stakeholders engaged in this planning effort all acknowledge that, while valued, more arts education is needed and that the Arts Master Plan should address this topic. The public schools have not yet achieved implementation of the state-mandated curriculum standards and some arts educators reported personal challenges in providing their classes within the current educational environment.

The City’s Arts and Events Office provides a variety of arts education programs , including artist residencies in schools, performances to expose students to the arts, and youth competitions. While these programs each serve a purpose, they are not based on a needs assessment or organized around a strategic goal. Yet there is every reason for the City to participate in arts education. Arts education is perhaps the only curriculum area that requires a connection between the schools and the arts community. Fulfilling California’s Visual and Performing Arts Standards Arts Master Plan

62 arguably require the participation of professional artists and arts organizations that demonstrate, model and instruct arts processes and understanding for students.

Communities throughout the U.S. that have made systemic improvements in public school arts education have generally adopted a collective impact model, such as the one advocated by Arts for All. The City of Santa Clarita can best leverage its efforts in support of the community’s desire to improve arts education by participating in a cooperative effort, building on COC’s current K-12 Consortium.

The City’s presence and leadership are an essential ingredient for success.

It is likely that a citywide arts education collaborative would identify specific needs and strategies the City could best fulfill. In other communities, this role is often to facilitate connections between the schools and arts resources in the community, building on the many arts community relationships held by the Arts and Events Office and its networks.

Arts Education Recommendations

3.1. Convene a citywide arts education collaborative to assess arts education needs in the schools and
identify joint strategies, building on the College of the Canyon’s K-12 Consortium. Participants can include
the City, school districts, College of the Canyons,
COC’s K-12 Consortium, CalArts, The Master’s
University, arts educators, arts organizations and the
SCV Education Foundation.

3.2. Align the City’s arts education programming with
needs identified by the collaborative.

3.3. Expand the curriculum of arts classes offered for
children, youth, and adults through the City Parks,
Recreation, and Community Services Department,
and consider developing more sequential classes that
build advanced skills and communities of interest.

Arts Master Plan

63 Arts Education Update
An arts education collaborative was created in summer 2019, which includes representatives from the City of Santa Clarita, the Los Angeles Department of Arts and Culture, the California Institute of the Arts, and the College of the Canyons (Recommendation 3.1). The collaborative began to identify the needs for arts education across the community and realized that a strategic planning process that included representatives from all five local school districts, artists and arts organizations, and the business community would be an opportunity to enhance creative education in Santa Clarita.

The strategic planning process was delayed due to the COVID-19 pandemic, but was able to launch at the end of the 2020-21 school year. The resulting strategic plan will contain recommendations and an implementation plan for the community.

City staff had also started to discuss ways to expand the curriculum of arts classes offered through the Contract Classes program, which is shared in the quarterly Seasons magazine (Recommendation 3.3). This effort was also delayed due to the pandemic, but is anticipated to begin to be implemented in the coming year.

Arts Education Recommendations

3B.1 Begin implementing the Santa Clarita Arts Education Strategic Plan, once it has been developed in summer 2021.
3B.2 Explore programs to offer arts education to all ages, particularly targeting seniors and underserved communities. This recommendation aligns with the Diversity and Inclusion Committee Statement.

Arts Master Plan

64 Theme 2. Strengthening Cultural Support Systems

4. Governance of the Arts

The City of Santa Clarita’s Arts and Events Office is located within the Community Services Division of the Parks, Recreation, and Community Services Department.

This Office has responsibility for arts programming, grants, and public art, as well as coordinating special events (both arts related and non-arts related). The program is supported by approximately 38 full- and part-time staff members and has an annual budget of $2.2 million.

In December 2009, the City of Santa Clarita created the City’s first Arts Commission to provide leadership, vision, and commitment to cultural arts development in the City. This five-member commission is comprised of art-minded individuals and is responsible for advising the City Council, City Manager, and City staff on arts matters including public art and art programs and events throughout the community. The authorizing legislation for the Arts Commission enumerates certain specific duties:

A. Advise the City Council and the Director of Parks, Recreation, and Community Services, or City Manager, in all matters pertaining to arts programming and public art, and to cooperate with other governmental agencies and civic groups in the advancement of sound arts development and arts planning and programming.

B. Formulate general policies on the arts for approval by the City Council.

C. Advise the City Council, with the Director of Parks, Recreation, and Community Services, or City Manager, on development of arts events, facilities, programs, and improvement of arts services.

D. Make periodic inventories of arts services that exist or may be needed; interpret and convey the needs of the public to the City Council, and to the Director of Parks, Recreation, and Community Services, or City Manager.

E. Aid in coordinating arts services with programs and revenue enhancement of other governmental agencies and voluntary organizations.

F. Interpret the policies and functions of the Parks, Recreation, and Community Services Department for the public.

Arts Master Plan

65 G. Advise the Director of Parks, Recreation, and Community Services, or the City Manager, in the preparation of the annual budget of the Department and the preparation of a long-range arts program plan. (Ord. 09-13 § 1, 8/25/09)
The roles and responsibilities of the Arts Commission have been the subject of considerable discussion and some frustration, particularly on the part of the Arts Commission members. It should be noted at the outset that ALL City policy and budget authority rests with the City Council. Any Commission created by the City Council is advisory in nature and has no independent policy, program or budget authority. Having noted that, best practices in the field suggest that it should be an unusual circumstance for the City Council to override the recommendations of its advisory Commission. It should also be noted that best practices in the field dictate the utilization of expert peer panels to recommend grants funding and to select public art.

The following represents the best and standard practices in the arts and cultural field in defining the respective roles:

City Council
• Appoints Arts Commission members
• Authorizes budgets for arts and cultural programs
• Approves arts policies and arts program guidelines
• Authorizes contracts for grants and arts services
• Responds to citizen input and concerns
Qualifications:
• City residency
• Overall vision for the City
• Election by the citizens
Arts Commission
• Articulates vision for arts and cultural development
• Recommends policy and program guidelines
• Recommends grant allocations, public art selections, etc. • Ensures appropriate citizen participation in arts programs Qualifications:
• City residency
• Civically engaged
• Passionate about the arts
• General knowledge of the arts
Arts Master Plan

66 Peer Panels
• Reviews grant applications, public art proposals, etc. • Conducts aesthetic and quality review
• Recommends artists/arts groups for grants, or public art projects Qualifications:
• Appointment by the Arts Commission
• City residency not required
• Professional level expertise in one or more arts disciplines These practices have proven to be successful in many communities due to clarity in the respective roles and reliance on the authority and expertise of each entity in fulfilling their duties. In the recent joint workshop for the City Council and Arts Commission, there appeared to be broad agreement between the two bodies concerning their vision for arts and cultural development in Santa Clarita.

There have been suggestions that the Arts Commission create a Foundation to do private fundraising to support the arts. An earlier feasibility assessment suggested that such an effort would not be successful in Santa Clarita. While this approach has been successful in other communities, that success has been the result of a strong philanthropic culture and strong private sector arts leadership in the city.

Those conditions do not exist in Santa Clarita.

Governance of the Arts Recommendations

4.1. Adopt a three-tier process of developing arts grants and public art projects, utilizing outside peer panels.

4.2. The Arts Commission should develop an annual arts
work plan as a part of the annual goal-setting process, and submit that plan to the City Council for review.

4.3. Conduct an annual joint workshop session with the
City Council and the Arts Commission to define
priorities and issues, in advance of creating an annual arts program work plan.

Arts Master Plan

67 4.4. Create a standing City Council subcommittee for the arts, comprised of two council members, whose role
is to provide an ongoing link between the City Council
and Arts Commission, and to reinforce
implementation of the plan.

Arts Master Plan

68 Governance of the Arts Update

The recommendations in this focus area were priortized by the Arts Commission during the early years of the implementation of the Arts Master Plan. In 2016, shortly after the adoption of plan, the Arts Commission developed their first Arts Commission Work Plan (Recommendation 4.2), which identified five recommendations that would be prioritized that year. A Work Plan has been developed annually every year since.

The Arts Commission held a joint study session with the City Council to share the first Arts Commission Work Plan (Recommendation 4.3). This meeting has been held most years since then and has become an annual tradition in September of each year.

Three-tier approval processes have been implemented as part of the Public Art Planning and Selection Process and the annual Arts Grants program (Recommendation 4.1). These processes include peer review panels that have representatives from the Santa Clarita community and arts experts.

Governance of the Arts Recommendations

4B.1 The City should develop a new Arts Master Plan for presentation to the City Council in 2026, as this plan’s contents must be updated and enhanced to fit the changing needs of the community.
4B.2 The Stakeholder Committee that was developed during the development of the original Arts Master Plan and was reformulated for this update should be consulted at a minimum of once yearly to be a voice of the community as the plan continues to be implemented. The membership of the committee should be representive of the diverse perspectives of the community. This recommendation aligns with the Diversity and Inclusion Committee Statement.

Arts Master Plan

69 5. Cultural Facilities, Venues and Spaces

The community identified a variety of needs for cultural facilities, venues and spaces during this planning effort. Cultural facilities have also been the subject of other City plans, including the 1998 Cultural Arts Master Plan and the 2014 Old Town Newhall Specific Plan. As discussed in the Community Description section, the City has invested in a range of cultural facilities and places over the past twenty years or so, including the Santa Clarita Performing Arts Center at College of the Canyons, two theaters in Old Town Newhall, the Old Town Newhall Arts and Entertainment District, historic park assets, and others. The City has also used its existing facilities, such as City Hall, the public libraries and the Activities Center as venues for art exhibits. Cultural facilities are major investments and, as noted in that section, the City has to date primarily chosen to contribute towards cultural facilities owned and operated by others, as an efficient partnership strategy that leverages greater use of scarce public dollars. This strategy has served the public well, generating a collection of vital venues for cultural programming. The City’s Thursdays@Newhall series is one such example.

In line with the community engagement for this plan, cultural facilities are defined here in a broad manner to include not only theaters but also other traditional performing and visual arts buildings (community arts centers, museums, galleries, etc.). For Santa Clarita, this definition must also include informal venues, such as coffee shops, music clubs and parks. Of course, the Old Town Newhall Arts and Entertainment District includes a range of cultural facilities, formal and informal, and is discussed in its own section. Finally, it should also be noted that public spaces, such as streets and sidewalks, parkland, shopping centers and parking lots have all been programmed to be vital temporary cultural facilities. Santa Clarita’s chalk art festival is one such example.

The fundamental finding of this plan in relation to cultural facilitie s is that the public demand for cultural programming will require additional cultural facilities.

The desire for higher quality programming with a regional draw, informal art experiences throughout everyday living, further development of the Old Town Newhall Arts and Entertainment District, programming for younger adults—all have implications for cultural facilities, in its broadest definition.

Arts Master Plan

70 Perhaps the longest-standing and commonly expressed desire with respect to cultural facilities is an amphitheater. An amphitheater, capitalizing on Santa Clarita’s beautiful natural surroundings, favorable weather and the Southern California tradition of outdoor performances, was a recommendation of the 1998 Cultural Arts Master Plan. An amphitheater could also serve as a venue for the City’s Concerts in the Park series, replacing its Central Park location, and support the continued evolution of that well-loved program. An amphitheater was sometimes mentioned as a venue that could serve as a regional attraction and not only one focused on the local community. The best focus, size and location of an amphitheater are still open questions and a specific facility plan is needed to make sound decisions about what would probably be a large investment.

An intriguing possibility is for the City to facilitate private investors that seek to create arts venues in the community. Examples would be the arts -related businesses currently located in Old Town Newhall. Business owners participating in this plan discussed the challenges they faced in starting what they consider to be “passion projects” and not merely profit-driven business enterprises. The assistance requested includes help identifying available properties, with permitting, and other compliance issues. Adopting a City policy and attitude of welcoming and facilitating creative businesses in Santa Clarita would be an excellent signal to those in the business community with a n arts purpose to locate and thrive in the City. It would also help establish Santa Clarita as an arts destination and allow the City to direct arts uses in a targeted manner. Old Town Newhall is obviously an excellent location for such businesses but they belong throughout the city. There is a specific desire in the community for more music venues—clubs, bars and non-alcoholic coffee shops—to support a thriving local music scene.

Another facility need arising in the planning process was a community arts ce nter, with a performance venue, gallery space and classrooms. This type of facility is common throughout the U.S. and often becomes a well-used center for community arts. These facilities are focused first and foremost on the needs of local artists and arts organizations, and community-based arts activities. They are designed less around the tastes and requirements of the general audience.

Arts Master Plan

71 In line with the desire for higher quality programing with a regional draw, there was some interest expressed in a larger performing arts venue, with a size that is larger than the current 868-seat Santa Clarita Performing Arts Center at College of the Canyons. Indeed, theaters that present Broadway entertainment, commercial music acts, and other higher profile artists generally require capacities or 2,500 seats or much larger. While there may be a market for such a facility, it would be the most expensive option for the City to undertake both in terms of capital and ongoing operating costs. It is not the highest priority use of public resources, given the other priorities identified in this plan.

The overall cultural facilities question in this plan is how the City can best address the community’s needs. The challenge of a community arts center is that it serves a small number of organizations and is not in line with the community’s expressed interest in higher quality professional events that would serve a s a regional draw.

The challenge with a large performing arts center is primarily its cost. The community’s desires can probably most efficiently be filled through a combination of other facilities, e.g., the Newhall Elementary School Auditorium, the current Performing Arts Center, an outdoor amphitheater, development of more small - scale and informal venues, and other facilities that may become available in the community.

In addition, the City is currently planning a new library in Saugus and intends t o include an arts classroom or other space for cultural uses in that facility. This is an excellent and cost efficient way to provide needed cultural programming in that area of the city. A study is underway to explore the best range of uses for this space.

Other important cultural facility possibilities are discussed elsewhere in this plan and are cross-referenced here. They include the Newhall Elementary School Auditorium, and art galleries and a museum in Old Town Newhall.

Arts Master Plan

72 Cultural Facilities Recommendations

5.1. Develop a plan for an outdoor amphitheater in a park, addressing its optimal focus, location, size and
operating structure.

5.2. Facilitate private investors to create arts-related businesses, e.g., music clubs, ceramics studio, art
galleries, small performance venues, film festival,
etc., by providing assistance such as communicating
the City’s interest in arts-related businesses,
identifying available properties, and helping with
permitting, and other compliance issues.

5.3. Explore future development of a community arts
center, oriented to the needs of community-based
arts organizations and lifelong learning in the arts.

5.4. Explore future development of a larger regional
performing arts center.

5.5. Include one or more cultural spaces and uses in the planned Saugus Library.

2.1. Cross-reference: Newhall Elementary School
Auditorium.

2.2. Cross-reference: Museum in Old Town Newhall.

2.4. Cross-reference: Artists live/work in Old Town
Newhall.

2.5. Cross-reference: Art galleries in Old Town Newhall.

Arts Master Plan

73 Cultural Facilities, Venues and Spaces Update

The need for a community arts center was identified as one of the highest priorities by the Arts Commission in the first Arts Commission Work Plan (Recomm endation

5.3). The effort to develop a center has been worked on since that time. In June 2021, the Cultural Planning Group, the consultants who developed the Arts Master Plan, were contracted to develop a needs asessment for an Arts, Culture, and Veterans Center at the site of the former SCV Senior Center in Old Town Newhall.

This effort is a partnership between the City of Santa Clarita and the Los Angeles County Fifth District.

The City also commissioned an amphitheater feasibility study, which was presented to the City Council in 2018 (Recommendation 5.1). T he study identified five potential sites at three locations. Two of the sites were determined to be suitable for an amphitheater with an approximately 6,000 attendee capacity. Both of the sites are not currently available for development, but could be reassessed when either site is able to move forward.

The meeting held with the arts community for this update identifed facility needs that are reflected in the recommendations below.

Cultural Facilities, Venues and Spaces Recommendations

5B.1 Explore development of an outdoor theater venue with a 500 to 750 attendee capacity modeled on the concept in the Rivendale Park and Open Space Master Plan.
5B.2 Identify a shared space to support the various needs of the arts community (e.g. rehearsal, storage of props, costumes, and administrative space).
5B.3 Identify a location for performance teachers to present recitals and instruction.

Arts Master Plan

74 6. Supporting Artists and Arts Organizations

Santa Clarita is home to a small but vital community of arts and cultural organizations and many individual artists and creative professionals. The community of nonprofit arts and cultural organizations operates on mostly small budgets and with a high reliance on earned income and a strong showing of volunteerism. The pathways to organizational growth and development for these organizations are made more difficult by the environment in which they operate.

Contributed dollars are relatively difficult to raise in a younger community with less-well-established traditions and institutions for arts philanthropy. Few have paid professional arts administrators on staff.

One of the important functions a local arts agency, like the Santa Clarita Arts and Events Office and its Arts Commission, can fill is to help build the capacity of local arts and cultural organizations. Capacity building simply refers to any improvements that allow an organization to better fulfill its mission. This can be as simple as a new computer system or as complex as creating a more effective board of directors. The challenges and solutions for each organization are highly individualized; one size does not fit all, at all, in this context. The City already provides capacity building assistance in the form of its funding program, which provides a modest but renewable form of annual financial support. The City also provides marketing assistance through the newly created online communitywide arts calendar (http://santaclaritaarts.com). And the City pays an annual amount to the Santa Clarita Performing Arts Center at College of the Canyons to make available a certain amount of dates for use by local arts groups. The issue for this plan is to define what is the next phase of support that will most effectively enable local nonprofits to make organizational progress.

An important next step for the Arts and Events Office is to provide individualized technical assistance in areas that are of particular relevance for a given organization. For example, an organization needing better online marketing could benefit from a grant made available for this purpose. There are also shared needs that could be addressed through a citywide program, such as leadership training and placement for business people on the boards of directors of local arts organizations. The partnership of the Riordan Leadership Institute and the Arts Master Plan

75 Executive Service Corps (http://www.escsc.org) in Los Angeles are an example of this type of program.

Individual artists also benefit from professional development and there is an increasing number of communities that provide business and career training to artists, often treating them as entrepreneurs. There are many resources available in Southern California and online to assist artists with business and career development. Local examples are the Center for Cultural Innovation (http://www.cciarts.org
), Arts for LA’s Artists Opportunities listings
(http://www.artsforla.org/forum/1), and Side Street Projects (http://sidestreet.org).

In addition to training and information resources, arts organizations in Santa Clarita would benefit from a City arts grants program with greater financial muscle.

While funding is not the whole solution to organizational developmen t, strategic funding is certainly an important component. The current Arts Grants budget of $60,000 with grants averaging $7,500, focused on providing programs, is inadequate to the task of building the capacity of its community of nonprofits.

There are two reasons for this. First, the total grants budget is low in comparison with national averages. The national average for government support is 9% of a n individual arts organization’s total revenues (Source: Americans for the Arts 2014).

In Santa Clarita, total revenues of current grantees is approximately $1.6 million, and the total revenues of the nonprofit arts community in the valley is much greater. Nine percent of $1.6 million is $144,000. Second, capacity building projects, as distinguished from program support, often involve expenses above- and-beyond the operating budget of the organization, money used to support improvements to the organizational infrastructure (better fundraising, marketing, information systems, etc.). Capacity building also often necessitates a sustained, multi-year effort. This suggests that the City create a separate grants category for this type of project.

Supporting Artists and Arts Organizations Recommendations

6.1. Increase the total Arts Grants budget (incremental increases to a benchmark of $144,000 or
Arts Master Plan

76 approximately 9% of total annual arts organization
revenues).

6.2. Create a new capacity building category of grants for arts and cultural organizations, including assistance
for unincorporated and culturally specific groups
(estimated cost $10,000 annually).

6.3. Make available business and career training for
individual artists, drawing on the resources available
in the region and online (estimated cost $10,000
annually).

6.4. Explore development of a leadership training and
placement program for business people and other
community leaders to serve on boards of directors of
arts and cultural organizations; this can perhaps be
best accomplished through a partnership with an
existing leadership organization in the County
(estimated cost $10,000 annually).

Arts Master Plan

77 Supporting Artists and Arts Organizations
Update

The City Council increased the funding for the Arts Grants program from $60,000 to $90,000 in the first grant cycle after the adoption of the Arts Master Plan in 2016 (Recommendation 6.1) and a new capacity building category was added to the program (Recommendation 6.2). Both of these actions have positively impacted the development of the arts in the community.

The City offers business trainings for artists in the community through two different programs (Recommendation 6.3). The first, the New Heights Artist Development Series, is generally offered once a month and provides professional development for musicians, visual artists, and filmmakers. This program was moved to being offered virtually during the pandemic, which has resulted in more artists viewing the sessions than when they were being offered in -person. The second program is the annual Arts Symposium, which is presented in October o f each year as part of the City’s ARTober initiative. The Arts Symposium is a one -day gathering for artists where various professional development sessions are offered.

This program was held virtually in 2020, but will return to in -person in 2021.

The CREATIVE Connection program was produced in FY 2019-20 and again in FY 2020-21 to develop board members and match them with local nonprofit arts organizations (Recommendation 6.4). The program will be offered again in FY 2021-22.

Supporting Artists and Arts Organizations Recommendations

6B.1 Explore an increase to the Arts Grants program (and the Community Services Grants program) of $10,000 each, and expand the Arts Grants to be an Arts and Culture Grants program, which encourages community nonprofits that celebrate Santa Clarita’s diversity to apply. This recommedation is aligned with the Diversity and Inclusion Committee Statement.

Arts Master Plan

78 6B.2 Evolve the Arts Symposium program into a multiple-day arts conference that serves Southern California and encourages attendees to stay in local hotels.
6B.3 Expand the CREATIVE Connection program to target participants that represent Santa Clarita’s diverse population. This should result in expanded diversity of representation on local nonprofit arts organization s boards of directors. This recommendation is aligned with the Diversity and Inclusion Committee Statement.

Arts Master Plan

79 7. Arts Funding

Currently, the City provides a budget of approximately $2.2 million for the Arts and Events Office. This budget supports both arts and non-arts programming. Staff estimates that 60 to 65% of the budget including staffing can be attributed to arts and culture related activities. This amounts to about $1.4 million annually. This includes significant support for the Cowboy Festival, which is considered a cultural event.

Sports comprise about 20% of the budget. Events supported with this funding include:
• AMGEN Tour of California bike race
• Wings for Life World Run (Red Bull nonprofit for back injuries) • Santa Clarita Century bike ride
• Santa Clarita Marathon (largest City-produced sports event) There are also other, non-arts community events that are part of the Arts and Events Office budget. A partial list includes:
• Day for Kids
• Haunted House
• Fourth of July Parade
• Fourth of July Fireworks
• Revved Up car shows
Much of the City’s Arts and Events Office budget is devoted to staffing for the production of large events, such as the Cowboy Festival, Santa Clarita Marathon, Thursdays@Newhall, Concerts in the Park and Fourth of July. The Arts and Events Office handles about 200 events a year in total. Events staff also does permitting and coordination for non-City produced events. This accounts for the relatively large size of staff. Two staff positions could be fully considered to be arts staff.

Arts Master Plan

80 At the present time, the Arts and Events Office is primarily a programming and event coordination agency. In addition to its full schedule of events, the agency administers a modest grants program, provides some arts education, manages the voluntary public art program, staffs the Arts Commission and other activities. It does not engage in some functions that are often found in the portfolio of other local arts agencies, such as technical assistance support for local arts nonprofits, professional development for artists, creative economy programs, leadership development, cultural facilities management, etc. This reflects the City’s priority placed over the past two decades on building a fundamental city arts infrastructure and a focus on visible community events. As discussed in the Conclusions section, it is clearly time to expand the scope of the agency in line with the vision articulated by the community.

Implementation of even some of the recommendations in this plan will require an increased budget for both programming and staff.

When the Arts Commission was formed in December 2009, the City Council asked that one of the first tasks to be undertaken was the formation of an arts foundation for Santa Clarita, which would serve to increase funding opportunities for the community. The Arts Commission formed a committee to study this issue, including researching nonprofit arts support organizations in other cities , testing the feasibility among potential donors and calculating the likely cost of launching such an endeavor.

In its report on this subject, the Commission suggested that an “Arts Foundation could be a vital part of developing the arts and culture environment in Santa Clarita. It could serve a valuable role in building the capacity of our local arts groups. However, the development of the Arts Foundation will need to be approached with realistic expectations, and will probably require some level of support from the City of Santa Clarita for several years. It will also require getting the right board members to lead the group and will need the buy-in and support of other groups, including the education and business communities and other government agencies.” It concluded that the minimum investment during the initial years would be $200,000, supporting 2-3 staff positions.

There are several challenges. While Santa Clarita has a large number of nonprofits (both arts and non-arts), there does not seem to be a strong culture of institutional Arts Master Plan

81 philanthropy (philanthropic foundations) in Santa Clarita. This pattern is common in suburban communities, especially those in the shadow of a major cultural city, such as Los Angeles. There are many generous individuals but there is inevitably significant “leakage” of philanthropic giving to the institutions in the larger city. At the same time, arts and cultural organizations in suburban cities cannot compete with the range and quality of programs that would attract major gifts. Finally, the development of major new private donors requires cultivation over a period of time. Few, if any, results could be expected in the early years.

As was noted in the Commission’s Foundation report: “A quick review of non- governmental contributions for the seven arts organizations that applied for the 2011/12 Arts Grants program shows the total of individual, corporate, and foundation giving was $152,573, or less than the projected annual operational costs of the Arts Foundation. This is the biggest challenge for the Arts Foundation concept. It has often been said that once the Arts Foundation is formed, there will be funding available. Under the current conditions in Santa Clarita, and with the reality that most funders will not support an organization in its first three years, it is hard to see how to build the Arts Foundation in a way that leads to success. It should be noted that even beyond the first three years, funders are looking to support organizations that have demonstrated community support at a level that is at least as big as the funding requested, and this could be difficult to achieve.” The authors of this cultural plan agree with this assessment. Perhaps a better approach might be to begin by creating an Arts and Business Leadership Council.

This organization could develop leadership for the nonprofit arts groups in the city, identify potential funding and sponsorships, and potentially be a leadership group for one or more of the major initiatives proposed in this plan, s uch as the artist/creative live/work space or the museum in Old Town Newhall. Private funders are much more inclined to support specific projects, rather than the arts generally.

7.1. The City should assist in the formation of an Arts and Business Leadership Council, with the Santa Clarita
Economic Development Corporation, the SCV
Chamber of Commerce, and the Valley Industrial
Association.

Arts Master Plan

82 Despite the fact that significant new private sector funding support is not likely in the short term, additional funding will be required if this plan is to be implemented.

Modest amounts will be needed for program enhancements and augmented staffing. Significant dollars will be needed for some of the proposed capital building and renovation projects, as well as seed funding for the recommended film festival.

As is noted in the Arts Funding in California Cities section of this plan, smaller c ities tend to support the arts through general fund allocations. In mid-sized and larger cities, some form of dedicated revenue stream tends to be the source. In many California cities, that source is often the Transit Occupancy Tax (TOT). This could be an alternative to general funds in Santa Clarita.

In 2012, the room tax translated roughly to an additional $25 million generated from local hotel-room sales. And the tax on occupied hotel rooms produced 10 percent—or nearly $2.5 million—in tax revenue for Santa Clarita’s general fund. In 2012, there was a 2.7 percent increase in hotel occupancy, and a 3.1 percent increase in the average daily rate.

One approach would be to phase in a contribution from the revenues of the TOT.

Suppose the City dedicated one-half of the growth in TOT revenues to the arts until some predetermined threshold has been reached, perhaps 10% of the total TOT stream. In today’s dollars, that would translate into $250,000 in new arts funding. Given the strength of the current economy and the growth in hotel occupancy, it is conceivable that this threshold could be reached within several years.

7.2. The City should consider allocating to the arts a
portion of the proceeds from the Transit Occupancy
Tax, to supplement other sources of funding, such as
the general fund and the recommended percent-for-
art program.

Arts Funding Recommendations

Arts Master Plan

83 7.1. The City should assist in the formation of an Arts and Business Leadership Council.

7.2. The City should consider allocating to the arts a
portion of the proceeds from the Transit Occupancy
Tax, to supplement other sources of funding, such as
the general fund and the recommended percent-for-
art program.

Arts Master Plan

84 Arts Funding Update

The City of Santa Clarita has increased arts funding every year since the adoption of the Arts Master Plan, with the exception of the FY 2020-21 budget cycle, when the impact of the COVID-19 pandemic was not yet clear and no budget increases were authorized, except for those that were required by law or contract. The City Council has been extremely supportive of the arts by allocating funding for various arts programs, hiring consultants to develop plans, supporting the operations and management of The MAIN and the Newhall Family Theatre for the Performing Arts, and by allocating funding for a new position to focus on events that celebrate Santa Clarita’s diversity in the FY 2021-22 budget.

The Arts Commission has been working with Dr. Ravi Rajan, the President of the California Institute of the Arts, to form the Arts and Business Leadership Council (Council) (Recommendation 7.1). This effort was somewhat delayed due to the pandemic, but the first meeting of the Council is anticipated to held before the end of 2021.

Arts Funding Recommendations

7B.1 Research arts funding models and develop a report on potential mechanisms to expand financial support for the arts community in Santa Clarita. This effort should focus on ways to encourage arts and cultural organizations that celebrate the community’s diversity. This recommendation aligns with the Diversity and Inclusion Committee Statement.

Arts Master Plan

85 8. Creative Economy

Santa Clarita is home to a vital collection of businesses in the creative industries as well as the creative professionals who work in this field. This is most readily apparent in the strong presence of the film industry. However, Santa Clarita’s creative industries encompass a broad array of people and businesses. There is no single definition of the creative economy. Nonetheless, it is useful to consider this portion of the economy as having creative enterprises (e.g., design firms and film studios) and creative occupations (e.g., musicians and landscape architects). These two categories encompass non-creative elements: creative enterprises include workers in non-creative jobs (e.g., a museum guard or clerical staff at an architectural firm) and creative occupations include workers in non -creative enterprises (e.g., a graphic designer at a construction firm or an arts instructor at a university). But creative enterprises and occupations combine to form the creative economy in any given region.

Santa Clarita has not yet studied its creative industries to assess their scope, characteristics or impact. A graduate student at the Center for Management in the Creative Industries at the Claremont Graduate University prepared a report on Santa Clarita’s creative economy in 2013 for the Arts Commission. The report observes that there are strong indications that the creative industries comprise a significant segment of the Santa Clarita Valley’s economy and its growth sectors.

The Santa Clarita Valley Economic Development Corporation identifies six targeted industries, each of which intersect with the creative economy:
• Digital Media and Entertainment
• Aerospace & Defense (Research & Design)
• Medical Devices (Device Design, Testing and Research) • Advanced Manufacturing (Product Design)
• Information Technology (Software Development)
• Tourism (Cultural and Recreational Events)
The report also observes that there are three agencies devoted to economic development of the City and valley: City of Santa Clarita Economic Development Arts Master Plan

86 Division, Santa Clarita Valley Economic Development Corporation, and College of the Canyons Economic Development Division. They collaborate effectively in economic development efforts and, as an example, the first two agencies have successfully positioned the valley for film industry enterprises. There are seven movie ranches, two film studios and more than 20 sound stages located in the Santa Clarita Valley. The Walt Disney Company, which has been filming on the Golden Oak Ranch in the valley since the 1950s, is in the process of building new sound stages for ABC Studios at the Ranch. Again, there are no studies documenting how many City residents are employed in the media industries but it is widely observed that industry professionals are a presence in the City.

Despite the presence of major creative corporations, such as the Walt Disney Company, it is axiomatic that “creative businesses are mostly small businesses.” This underscores the importance of economic development in this field that addresses basic small business development needs.

Given the apparent presence and impact of the creative industries in Santa Clarita and the lack of information and planning in this area, the City should undertake targeted research and planning for this element of its economy. In addition, there are several steps the City can take that are often considered to be essential in promoting growth of these industries. The first is convening the creative professionals in the community. Creative economy organizations throughout the nation have started and continued networking events, conferences and other activities that bring together “creatives” (artists and design professionals, film industry professionals, owners of small businesses in the creative industries) to facilitate connections and identify shared needs.

In addition, small business services adapted to the needs of small creative businesses are widely regarded as valuable. These services can include business or career training for individual artists, assistance for investors seeking to start a small creative enterprise (e.g., art store, design firm, music venue or recording studio), or access to capital for start-up businesses in creative fields. Many of these services are already available to people in the valley, yet they are either not suited to the specific needs of creatives or their availability is simply not well known.

The City should convene creatives and identify common needs and interests.

Potential services could include networking, access to small business supports, Arts Master Plan

87 facilitation for investors interested in creative businesses, online directory and an opportunities list.

Creative Economy Recommendations

8.1. Create periodic convenings for Santa Clarita’s
creative industries based on shared needs, beginning
with a high profile conference or event.

8.2. Adapt and provide small business development
services for the formation and growth of small
creative businesses.

8.3. Develop a creative industries directory for Santa
Clarita that identifies businesses and people in the
creative economy, and lists resources and
opportunities (estimated cost $15,000).

8.4. Consider development of an economic development
plan for Santa Clarita’s creative economy.

8.5. Participate in regional efforts to develop the creative economy.

2.4. Cross-reference: Artists live/work facility in Old Town Newhall.

5.2. Cross-reference: facilitate private investors to create arts-related businesses.

6.3. Cross-reference: business and career training for
individual artists.

Arts Master Plan

88 Creative Economy Update

Many of the recommendations in this area have been prioritized in the 2021 Arts Commission Work Plan, and are intended to be developed in a strategic approach.

This includes the development of a creative industries directory (Recommendation

8.3), which is being developed by a Los Angeles County Arts Intern, during summer 2021.

The development of the creative industries directory is anticipated to be followed by a convening in fall 2021 to share the directory with Santa Clartia business and arts leaders (Recommendation 8.1). In addition, current business development services programs are being assessed to determine how they can be more attractive to and beneficial for creative businesses (Recommendation 8.2).

Creative Economy Recommendations

8B.1 Explore ways to expand business development services programs to ensure that participants represent Santa Clarita’s diverse community. This recommendation aligns with the Diversity and Inclusion Committee Statement.

Arts Master Plan

89 9. Marketing the Arts

Citizens express the desire for better access to information about arts and cultural offerings in the community. Despite the multitude of events and activities, people have difficulty in consistently locating things that interest them and miss opportunities that have passed because they were not aware of them. As discussed above, this is a common problem among U.S. cities and it is a challenge to overcome the “noise” of many competing marketing messages in people’s lives.

The Arts Commission has recognized this need and recently developed an online communitywide arts calendar (http://santaclaritaarts.com). Other arts calendars for the valley include:

Visit Santa Clarita (http://visitsantaclarita.com/things/arts-culture/) Arts and Events Office Events Calendar (http://arts.santa-clarita.com/events/) Santa Clarita Guide (http://santaclaritaguide.com/CalendarOfEvents.php)

The challenges persist despite the availability of these resources and the community clearly needs a comprehensive marketing program to connect its residents, workers and visitors with their cultural interests. This would have the added benefit of strengthening the organizations and businesses providing events and activities. Many other cities have addressed this challenge. The most successful programs include several essential elements:
• A comprehensive arts and event marketing website, such as the Artsopolis platform (http://www.artsopolisnetwork.com
), the
“Philly Fun Guide” (www.phillyfunguide.com), and the CNY Arts Calendar (http://gotocnyarts.org). A key feature is that people and organizations providing arts events only enter their event information in one database, which is then made available to all sites. Partnerships are formed with the existing arts calendars ; in Santa Clarita this might include the existing websites mentioned above. A comprehensive website becomes the primary
“backbone” of information in their regions. Some serve as the event database for local/regional newspapers for instance as well as tourism and visitors bureaus. Also, these platforms extend far beyond advertising ticketed arts events. They take a broad view of “arts and culture,” extending to commercial, community, educational, amateur and even sports activities. They can also provide listings for space rentals.

Arts Master Plan

90 • A mobile application and robust social media to accompany the online listings.
• Themed programming. Convening interested organizations, venues and agencies can identify a shared theme for a month or a year. Participants—arts organizations, creative businesses, restaurants, venues, artists—are encouraged to align their programming and co-market it under the themed banner.
• Cross-promotions, such as restaurant tie-ins, ticket samplers, discounts and contests.
• Earned revenue services, such as a box office service, advertising program, and other fee-based services to help fund the marketing program over time.

Santa Clarita’s existing arts marketing resources provide an excellent platform on which to build a stronger, more comprehensive marketing program for the arts , in line with the model elements described above. This will require staff resources, a consistent promotional effort to increase visibility and use of the online resources, and collaborative efforts with providers (e.g., themed programing, cross- promotions, etc.). In Philadelphia, the PhillyFunGuide sends a highly successful weekly e-blast/online discount promotion for arts events to more than 250,000 subscribers. In Santa Clarita, an arts marketing program could become the go-to resource for youth arts, for example, by developing a communitywide listing of arts classes, events and other activities for youth and their families. There are many other opportunities to more effectively market the arts with strategic communications, for the purpose of better connecting residents with their cultural interests.

Marketing the Arts Recommendation

9.1. Develop a comprehensive, community-wide arts and
cultural marketing program, in consultation with and
building on the existing arts marketing resources in
the community ($25,000 annual marketing costs plus
potential half-time staff or contract program).

Arts Master Plan

91 Marketing the Arts Update

In October 2016, the City of Santa Clarita launched the SantaClaritaArts.com website with the goal to serve as the hub for arts and cultural informa tion for the community. The City hired Lundmark Advertising + Design in 2019 to develop a marketing plan tailored to the community to increase engagement, expand audience, and increase visibility (Recommendation 9.1).

The marketing plan includes the following sections:
• Phase 1: Audience Analysis – analysis of community
demographics, target audience, and socio-economic data, which is utilized in the development of the comprehensive marketing plan. • Phase 2: Media and Marketing Audit – review of current marketing efforts, exploration of additional local/regional marketing opportunities, and the review of SantaClaritaArts.com as well as other similar organizations’ websites.
• Phase 3: Marketing Strategy – development of a comprehensive, strategic marketing plan that provides recommendations on new media outlet opportunities to expand visibility, identifies potential marketing partnerships, outlines recommended budget
expenditures, and includes marketing milestones and
measurement metrics.

In March 2021, the City hired Lundmark Adverting + Design to focus on improving SantaClaritaArts.com. An audit was conducted on site speed and search engine optimization and a more comprehensive search engine optimization (SEO) audit was recommended to be conducted. The website has established a secure sockets layer (SSL) certificate, updated meta description to key pages, and improved page load time.

Arts Marketing Recommendations
9B.1 Increase the arts marketing budget and expand the regional marketing strategies (incremental increases, leading to the Arts Marketing Plan recommendation of $62,000).
9B.2 Create an initiative that highlights events and programs that celebrate Santa Clarita’s diversity on SantaClaritaArts.com. This recommendation aligns with the Diversity and Inclusion Committee Statement.

Arts Master Plan

92 Theme 3. Fostering Greater Diversity and Inclusion

10. Celebrating Diversity

Diversity and inclusion are core values for the City of Santa Clarita and its citizens.

Since 1994, the City has had a Human Relations Forum that produces programs to eliminate all forms of discrimination and promote understanding and appreciation of human differences. Nonetheless, many planning participants believe that there are persistent divisions in the community arising in part from differences in race and class. In addition, Santa Clarita’s population is changing, with an increasing presence of diverse cultures and forms of artistic expression . This is a common issue in communities throughout the U.S. and often arises in cultural plans, such as the Santa Clarita Arts Plan. In fact, addressing cultural diversity is one of the most common functions of a local arts agency. The arts are often viewed as one of the most effective ways to bring people and communities together. Diversity programs in other cities range from multicultural festivals, to training efforts designed to help nonprofit arts organizations diversify their boards of directors, to arts education focused on multicultural arts.

Arts and culture are already used by the City and by Santa Clarita’s cultural organizations to celebrate diversity, bring together populations and foster increased cultural understanding. Planning participants support this approach and called for continued and expanded efforts to use arts and culture as a me eting ground for Santa Clarita’s diversity.

Diversity is defined here as encompassing acceptance and respect. It means understanding that each individual is unique, and recognizing our individual differences. These can be along the dimensions of race, ethnicity, gender, sexual orientation, socio-economic status, age, physical abilities, religious beliefs, political beliefs, or other ideologies. Arts and culture are especially suited to promoting this understanding, given their relationships with individual expression and cultural identity. Also, cultural events and activities are well-established tools for bringing people together across differences and in finding common ground.

Inclusion in this context refers to efforts to welcome and embrace diverse participants into a cultural activity. This can require changes to programming, Arts Master Plan

93 marketing, venues, the social dimension of events, and other characteristics.

Changes are designed to meet the cultural interests of new participants and to reduce barriers to crossing perceived boundaries. Familiar examples of ways to encourage inclusion are seeing “people who look like me” on the stage, allowing audience members to use social media during performances (“posting while watching”), making events more social (especially important for m illennials), and marketing designed for social media. Such efforts make it easier for new audience members to participate. Inclusion can also mean events intended to celebrate and share cultural identity, such as multicultural festivals and exhibits of culturally diverse artists.

During this planning process, participants came forward to be involved in this topic and to join efforts to foster diversity and inclusion as part of implementation of the plan.

It is best to view this topic as not only a set of recommendations , but also a theme or value to be reflected throughout all recommendations in the plan.

Celebrating Diversity Recommendations

10.1. Create a Diversity and Inclusion Subcommittee of the Arts Commission to promote relevant programming,
awareness and opportunities.

10.2. Explore projects that address diversity and inclusion through the City’s Arts Grants and Community
Services Grants.

10.3. Increase culturally diverse programming produced or supported by the City, such as community festivals
celebrating cultural diversity and/or a citywide
multicultural festival.

10.4. Make available technical assistance services to
culturally specific organizations and support their
organizational development.

Arts Master Plan

94 Celebrating Diversity Update

The first action taken by the Arts Commission after the adoption of the Arts Master Plan by the City Council in March 2016 was to form a Diversity and Inclusion Subcommittee (Recommendation 10.1). The subcommittee, now called a committee, focused on participating in regional efforts, such as hosting a meeting for the Los Angeles County Department of Arts and Culture as they developed their Cultural Equity and Inclusion Initiative, and assessing the resources, programs, events, and organizations that address diversity in Santa Clarita. The result was the creation of a statement by the committee to guide the Arts Commission in continuing to address this area:

Diversity and Inclu sion Committee Statement
It is the Diversity and Inclusion Committee’s belief that diversity, equity, accessibility, and inclusion are integral to enriching our community through arts and culture. That the arts should play a significant role in supporting cultural representation and opening pathways to meaningful community engagement and understanding.

The Committee would like to make a recommendation to the Arts Commission that as we address and follow up on each of the Arts Master Plan initiatives and re commendations, and in our committees and processes, we seek out opportunities, of all sorts, to support cultural equity and diverse participation. From the grants programs to public art, to the development of our non -profits and the Old Town Newhall Arts a nd Entertainment District, in each area that we engage or advise, we would like to:

• Consistently strive to serve all the varied communities that make up the City of Santa Clarita
• Invite the creation of artwork and events that are inclusive and that amplify our community’s full and diverse range of cultural assets
• Prioritize engagement and strive to widen our outreach to include groups and individuals who are not currently
participating

Arts Master Plan

95 A crucial part of this process will be to identify community resources, leaders, and organizations to help us to widen our reach in all of our initiatives and by suggesting ways to make our arts communications and programs inviting and inclusive.

This statement has been intregrated into all of the discussions by th e Arts Commission committees as this update was being developed. The result is reflected in recommendations in all of the focus areas of the Arts Master Plan Update, as noted in the individual recommendations.

Celebrating Diversity Recommendations

10B.1 Utilize the Diversity and Inclusion Committee Statement in developing future recommendations and when implementing the existing recommendations.

10B.2 Utilize the Diversity and Inclusion Committee Statement when developing future events or programs, or evolving existing events or programs, produced or supported by the City of Santa Clarita.

Arts Master Plan

96 Table of All Recommendations

Theme 1. Enhancing Cultural Vitality in the Community

1. Public Art Recommendations

1.1. The City should implement a public art planning and selection process that utilizes peer review and
community input to ensure that public art pieces
meet the goals of providing enjoyable and attractive
public spaces that reflect the character of the
community.

1.2. The City should utilize existing neighborhoods to
create thematic areas for public art projects, which
will allow for a more consistent and cohesive
inventory of artworks.

1.3. The City should enact a percent-for-art requirement for all new public capital improvement projects.

1.4. The City should explore extension of the percent-for- art requirement to new private development
including commercial, industrial and multi-unit
residential projects.

1.5. The City should consider issuing a Request for
Qualifications for an “on-call” artist to work with
various City departments and the Arts Commission to
suggest aesthetic enhancement for small-scale public
improvements.

1.6. The City should create a program of temporary public art.

Arts Master Plan

97 2. Old Town Newhall Arts & Entertainment District Recommendations

2.1. The City should explore taking management of the
renovated Newhall Elementary School auditorium
and actively programming it.

2.2. Begin exploration of a museum in Old Town Newhall.

2.3. Explore an ongoing program of public art placement in Old Town Newhall.

2.4. Begin development of a creative live/work facility in Old Town Newhall in partnership with private and/or
nonprofit developers.

2.5. Explore providing incentives to create a concentration of art galleries in Old Town Newhall.

2.6. Explore development of a film festival drawing on Santa Clarita’s heritage and ongoing relationship with
the film industry, and utilizing the collection of small venues in and near Old Town Newhall.

2.7. Explore development of Santa Clarita Valley historic assets as a collection of attractions, including Old
Town Newhall, William S. Hart Park, and further
development of Mentryville and other sites (Newhall
Pass, St. Francis Dam site, Golden Spike Railroad site, old filming locations).

3. Arts Education Recommendations

3.1. Convene a citywide arts education collaborative to assess arts education needs in the schools and
identify joint strategies, building on the College of the Canyon’s K-12 Consortium. Participants can include
Arts Master Plan

98 the City, school districts, College of the Canyons,
COC’s K-12 Consortium, CalArts, The Master’s
University, arts educators, arts organizations and the
SCV Education Foundation.

3.2. Align the City’s arts education programming with
needs identified by the collaborative.

3.3. Expand the curriculum of arts classes offered for
children, youth and adults through the City Parks,
Recreation and Community Services Department,
and consider developing more sequential classes that
build advanced skills and communities of interest
(potential cost of $5,000 - $10,000 as “seed capital” to experiment with new classes).

Theme 2. Strengthening Cultural Support Systems

4. Governance of the Arts Recommendations

4.1. Adopt a three-tier process of developing arts grants and public art projects, utilizing outside peer panels.

4.2. The Arts Commission should develop an annual arts
work plan as a part of the annual goal-setting process, and submit that plan to the City Council for approval.

4.3: Conduct an annual joint workshop session with the
City Council and the Arts Commission to define
priorities and issues, in advance of creating an annual arts program work plan.

4.4. Create a standing City Council subcommittee for the arts, comprised of two council members, whose role
is to provide an ongoing link between the City Council
Arts Master Plan

99 and Arts Commission, and to reinforce
implementation

5. Cultural Facilities Recommendations

5.1. Develop a plan for an outdoor amphitheater in a park, addressing its optimal focus, location, size and
operating structure.

5.2. Facilitate private investors to create arts-related businesses, e.g., music clubs, ceramics studio, art
galleries, small performance venues, film festival, etc.

5.3. Explore future development of a community arts
center, oriented to the needs of community-based
arts organizations and lifelong learning in the arts.

5.4. Explore future development of a larger regional
performing arts center.

5.5. Include one or more cultural spaces and uses in the planned Saugus Library.

2.1. Cross-reference: Newhall Elementary School
Auditorium.

2.2. Cross-reference: Museum in Old Town Newhall.

2.4. Cross-reference: Artists live/work in Old Town
Newhall.

2.5. Cross-reference: Art galleries in Old Town Newhall.

6. Supporting Artists and Arts Organizations Recommendations

6.1. Increase the total Arts Grants budget (incremental increases to a benchmark of $144,000 or
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approximately 9% of total annual arts organization
revenues).

6.2. Create a new capacity building category of grants for arts and cultural organizations, including assistance
for unincorporated and culturally specific groups
(estimated cost $10,000 annually).

6.3. Make available business and career training for
individual artists, drawing on the resources available
in the region and online (estimated cost $10,000
annually).

6.4. Explore development of a leadership training and
placement program for business people and other
community leaders to serve on boards of directors of
arts and cultural organizations; this can perhaps be
best accomplished through a partnership with an
existing leadership organization in the County
(estimated cost $10,000 annually).

7. Arts Funding Recommendations

7.1. The City should assist in the formation of an Arts and Business Leadership Council.

7.2. The City should consider allocating to the arts a
portion of the proceeds from the Transit Occupancy
Tax, to supplement other sources of funding, such as
the general fund and the recommended percent-for-
art program.

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8. Creative Economy Recommendations

8.1. Create periodic convenings for Santa Clarita’s
creative industries based on shared needs, beginning
with a high profile conference or event.

8.2. Adapt and provide small business development
services for the formation and growth of small
creative businesses.

8.3. Develop a creative industries directory for Santa
Clarita that identifies businesses and people in the
creative economy, and lists resources and
opportunities (estimated cost $15,000).

8.4. Consider development of an economic development
plan for Santa Clarita’s creative economy.

8.5. Participate in regional efforts to develop the creative economy.

2.4. Cross-reference: Artists live/work facility in Old Town Newhall.

5.2. Cross-reference: facilitate private investors to create arts-related businesses.

6.3. Cross-reference: business and career training for
individual artists.

9. Marketing the Arts Recommendation

9.1. Develop a comprehensive, communitywide arts and
cultural marketing program, in consultation with and
building on the existing arts marketing resources in
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the community ($25,000 annual marketing costs plus
potential half-time staff or contract program).

Theme 3. Fostering Greater Diversity and Inclusion

10. Celebrating Diversity Recommendations

10.1. Create a Diversity and Inclusion Subcommittee of the Arts Commission to promote relevant programming,
awareness and opportunities.

10.2. Explore projects that address diversity and inclusion through the City’s Arts Grants and Community
Services Grants.

10.3. Increase culturally diverse programming produced or supported by the City, such as community festivals
celebrating cultural diversity and/or a citywide
multicultural festival.

10.4. Make available technical assistance services to
culturally specific organizations and support their
organizational development.

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Table of Arts Master Plan Update Recommendations

Theme 1. Enhancing Cultural Vitality in the Community

1. Public Art Recommendations

1B.1 The City should expand the temporary public art
program to include a broader range of art forms,
including assistance for temporary performance art.
1B.2 The City should update the language in the
documents that are part of the public art planning
and selection process to ensure that artists of all
backgrounds are encouraged to participate in the
program. This recommendation aligns with the
Diversity and Inclusion Committee Statement.

2. Old Town Newhall Arts & Entertainment District Recommendations

2B.1 Explore the development of a program that offers
pop-up and mobile museum experiences in Old
Town Newhall. This recommendation aligns with the
Diversity and Inclusion Committee Statement.
2B.2 Create outside spaces that can serve as a hub for
various arts and cultural opportunities for the
community.

3. Arts Education Recommendations

3B.1 Begin implementing the Santa Clarita Arts Education Strategic Plan, once it has been developed in the
summer of 2021.

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3B.2 Explore programs to offer arts education to all ages, particularly targeting seniors and underserved
communities. This recommendation aligns with the
Diversity and Inclusion Committee Statement.

Theme 2. Strengthening Cultural Support Systems

4. Governance of the Arts Recommendations

4B.1 The City should develop a new Arts Master Plan for presentation to the City Council in 2026, as this
plan’s recommendations must be enhanced to fit the
changing needs of the community.
4B.2 The Stakeholder Committee that was developed
during the development of the original Arts Master
Plan and was reformulated for this update should be
consulted at a minimum of once yearly to be a voice
of the community as the plan continues to be
implemented. The membership of the committee
should be representative of the diverse perspectives
of the community. This recommendation aligns with
the Diversity and Inclusion Committee Statement.

5. Cultural Facilities, Venues and Spaces Recommendations

5B.1 Explore development of an outdoor theater venue
with 500 to 750 attendee capacity modeled on the
concept in the Rivendale Park and Open Space
Master Plan.
5B.2 Identify a shared space to support the various needs of the arts community (e.g., rehearsal, storage of
props, costumes, and administrative space).

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5B.3 Identify a location for performance teachers to
present recitals and instruction.

6. Supporting Artists and Arts Organizations Recommendations

6B.1 Explore an increase to the Arts Grants program (and the Community Services Grants program) of $10,000
each, and expand the Arts Grants to be an Arts and
Culture Grants program, which encourages
community nonprofits that celebrate Santa Clarita’s
diversity to apply. This recommendation is aligned
with the Diversity and Inclusion Committee
Statement.
6B.2 Evolve the Arts Symposium program into a multiple- day arts conference that serves Southern California
and encourages attendees to stay in local hotels.
6B.3 Expand the CREATIVE Connection program to target
participants that represent Santa Clarita’s diverse
population. This should result in expanded diversity
of representation on local nonprofit arts
organizations boards of directors. This
recommendation is aligned with the Diversity and
Inclusion Committee Statement.

7. Arts Funding Recommendations

7B.1 Research arts funding models and develop a report
on potential mechanisms to expand financial support
for the arts community in Santa Clarita. This effort
should focus on ways to encourage arts and cultural
organizations that celebrate the community’s
diversity. This recommendation aligns with the
Diversity and Inclusion Committee Statement.

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8. Creative Economy Recommendations

8B.1 Explore ways to expand business development
services programs to ensure that participants
represent Santa Clarita’s diverse community. This
recommendation aligns with the Diversity and
Inclusion Committee Statement.

Theme 3. Fostering Greater Diversity and Inclusion

9. Arts Marketing Recommendations

9B.1 Increase the arts marketing budget and expand the
regional marketing strategies (incremental
increases, leading to the Arts Marketing Plan
recommendation of $62,000)
9B.2 Create an initiative that highlights events and
programs that celebrate Santa Clarita’s diversity on
SantaClaritaArts.com. This recommendation aligns
with the Diversity and Inclusion Committee
Statement.

10. Celebrating Diversity Recommendations

10B.1 Utilize the Diversity and Inclusion Committee
Statement in developing future recommendations
and when implementing the existing
recommendations.
10B.2 Utilize the Diversity and Inclusion Committee
Statement when developing future events or
programs, or evolving existing events or programs,
produced or supported by the City of Santa Clarita.

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Implementation

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Implementation

The Santa Clarita Arts Master Plan is a plan for the City as well as partners in the community. While the City will be the lead agency for most recommendations, it cannot fulfill the community’s vision for cultural development without collaborative efforts from such others as the school districts, the three institutions of higher education, the business community, artists, arts organizations, and other groups. Indeed, these people and organizations were all involved in the creation of this plan and have already contributed to its content.

As the Arts Funding section of the plan describes, funding for much of the plan will be provided by a combination of City funds. Additional resources will be pr ovided by partner organizations, matched by grants, and earned through fees for services and admissions. It is anticipated that some recommendations will attract private funding from area businesses, regional and national foundations, and federal government programs. Potential arts grant sources include the National Endowment for the Arts (in particular, the Art Place and Our Town programs), the California Arts Council, and private foundations. In fact, the development of this plan provides an excellent basis for grant proposals, since it is grounded in the assessment of community needs and demonstrates increased public commitment to fulfilling those needs. Several of the recommendations (e.g., artists live/work, Old Town Newhall cultural district, marketing program, etc.) will generate revenues. For example, the recommended arts marketing program can include an online box office, advertising, and other fees for services that can offset the cost of the program. As another example, an artists’ live/work development would include rental or sales revenues as part of its business model. Moreover, many of the recommendations involve partnerships and collaborations, which can bring non - City resources to shared initiatives, such as sponsorships, staff support, in -kind resources, and volunteers.

It is anticipated that the Arts Commission will serve as an oversight body for implementation of the plan. It should assess progress towards fulfillment of the recommendations each year and convene an open community town hall meeting to report the status of implementation, facilitate discussion about current arts priorities, and provide opportunities for community members to participate in Arts Master Plan

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implementation efforts. It should also provide assistance, advocacy and encouragement for implementation during the year. Through its recommended Council subcommittee and annual work plan, it can communicate with Council about recommended next steps, budget priorities and other advice.

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Planning Participants

Interviewees and Discussion Group Participants

SITE VISIT #1 (January 2015)

CITY COUNCIL
Mayor Marsha McLean
Mayor Pro-Tem Bob Kellar
Councilmember Dante Acosta
Councilmember TimBen Boydston
Councilmember Laurene Weste

ARTS COMMISSIONERS
Chair Gary Choppe
Vice Chair Patti Rasmussen
Commissioner John Dow
Commissioner Dr. Michael Millar
Commissioner Susan Shapiro

CITY EXECUTIVE TEAM
City Manager Ken Striplin
Assistant City Manager Frank Oviedo
Director of Community Development Tom Cole
Director of Parks, Recreation, and Community Services Rick Gould Deputy City Manager/Director of Administrative Services Darren Hernandez Director of Public Works Robert Newman

STAFF VISIONING
Recreation and Community Services Manager Ingrid Hardy
Arts and Events Administrator Phil Lantis
Arts and Events Supervisor Jeff Barber
Arts and Events Supervisor Mike Fleming
Arts and Events Coordinator Donna Avila
Arts and Events Coordinator Dave Knutson
Arts and Events Coordinator Kyle Schnurr
Arts and Events Coordinator Jenni Shadle
Communications Manager Gail Morgan
Communications Specialist Evan Thomason
Communications Graphic Artist Andy Scott
Economic Development Associate Denise Covert
Public Works Management Analyst Alex Hernandez
Human Services Administrator Hope Horner
Website Coordinator Kathleen McGrath
Recreation Graphic Artist Pablo Cevallos

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STAKEHOLDER COMMITTEE
(See roster, Page 1)

SITE VISIT #2 (April 2015)

REALTORS and DEVELOPERS
Rebecca Mendoza (Keller Williams Reality)
Steve Arklin (Owner Rancho Deluxe Movie Ranch)
Norris Whitmore (Owner Norris Construction)
Jim Bizzelle (Vice President Newhall Land)

PROFESSIONAL ARTISTS
Idelle Tyzbir
Martha Wilcox
Cecily Willis
Sandy Fisher (Past Arts Commissioner)
Pablo Cevallos (City staff, works as Graphic Artist for Recreation Division) Jaylene Armstrong

ARTS NONPROFITS
Sherry Klahs (Santa Clarita Master Chorale)
Mark Elfont (Santa Clarita Philharmonic)
David Stears (Santa Clarita Shakespeare Festival)
Bob Hernandez (ARTree Community Arts Center)
Glenna Avila (CalArts Community Arts Partnership)
Elizabeth Burson (ESCAPE Theatre)
Don Pittman (ESCAPE Theatre)
Christy Smith (Newhall Family Theatre - formerly the Newhall Elementary Auditorium)
Norma Wardon (Santa Clarita Artists Association)
Jeanne Iler (Santa Clarita Artists Association)

FUNDERS and BUSINESS OWNERS
Erin Hopkins (White Fig Design)
Sue Bird (Old Town Newhall Association)
Bobbi Jean Bell (OutWest)
Rima Raulinaitas (CASI Ceramic Artist Studio)

SOCIAL SERVICES NONPROFITS
Bryan Lake (Boys and Girls Club)
Laura Mayo (Special Olympics)
Tim Davis (Bridge to Home)
Denise Tomey (Carousel Ranch)
Sharlene Duzick (YMCA)
Cheryl Jones (Child and Family Center)
Leon Worden (SCV Historical Society)

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ARTS EDUCATORS
John Vincent (Photography teacher at Hart High School)
Bret Lieberman (Special needs teacher at Canyon High School) Brent Christensen (Theatre teacher at Hart High School) Christine Hamlin (Assistant Superintendent, Saugus Union School District) Priscilla Nielsen (Visual Art teacher at Arroyo Seco Junior High School) Drew Jorgensen (CalArts Community Arts Partnership)
Ann Unger (Executive Director SCV Education Foundation) Linda Candib (College of the Canyons K-12 Outreach Program) Kathy Harris (Assistant Superintendent, Sulphur Springs School District) Lisa Bloom (Director of Instruction & Special Programs, Castaic Union School District)

RELIGIOUS LEADERS
Kim Patrick (Real Life Church)
Rev. Garrett Craw (Christ Church Santa Clarita)
Julius Harper (Santa Clarita Christian Fellowship)
Gary Lindberg (Jesus Christ Church of Latter Day Saints)

CULTURAL LEADERS
Gloria Locke (SCVTV and many other community projects)
Amber Martinez (Santa Clarita Ballet Folklorico)
Ron White (Owner Entertainment Services)
Claudia Acosta (Santa Clarita International Program (Sister Cities) & COC Professor)
Jack Shine (Habitat for Humanity)

CREATIVE ECONOMY
Stephanie O’Connor

PHONE INTERVIEWS
Denise Grande (Los Angeles County Arts Commission)
Rachel Mendoza (Los Angeles County Arts Commission)
Jeannene Przyblyski (Provost at California Institute of the Arts) Dr. Dianne Van Hook (Chancellor of College of the Canyons)

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Arts Summit (Town Hall) Participants
April 6, 2015
103 Total

John Alexopoulos
Phil Alhouse
Li Ang
Wallis Annenberg
Yoonhee Aprahamian
Mark Archuleta
Glenna Avila
Lisa Barr
Noel Bermudoz
Sue Bird
Lisa Bloom
TimBen Boydston
Cheryl Cameron
Margaret Cockerell
Curtis Colver
Rod Cusic
Eileen Daniels
Paul Daniels
Hilary Darling
Jeremiah Dockray
Erik Dunton
Karla Edwards
Mark Elfont
Laurie Finkelstein
Sandy Fisher
Dianne Foderaro
John Fortman
Hadassah Foster
Lena France's
Maureen Furniss
Teresa Garcia
Meryl Goudey
Raymond Guiterrez
Justin Hogan
Douglas Holiday
Dawn Hovhannisyan
Jeanne Iler
Alyssa Janney
Joseph Jasik
William Kelman
Chandra Khan
Janet Kubler
Raymond Kutylo
Erica Larsen
Michele Lecrivain
Michelle Lecrlvain
Moire Lendering
Sister of Moire Lendering
Gloria Locke
Bob Locke
Tom Lund
Sal Mannino
Patrick Mannion
Darryl Manzer
Howard Marcovitch
Cheri Marcovitch
Caroline Martin
Marilyn McDonale
Bruce McFarland
George Mcguinness
Patte McKee
Michael Millar
Rosemary Moffat
Aaron Morquecho
Selena Narayanasamy
Sarah Nelson
Stephanie O'Connor
Sara Owinwo
Scott Parker
Leighton Pierce
Don Pittman
Elizabeth Power Robison
Jeannene Przyblyski
Shirley Pundt
Nadine Rambeau
Rima Raulinaitis
James Robinson
Carol Rock
Frank Rock
CJ Sarachene
Karen Schnurr
Phillys Scorza
Kristy Shadle
Diana Shaw
Chris Shoemaker
Jacqueline Sofen
David Stears
Leslie Tamaribuchi
Idelle Tyzbir
Andrew Tyzbir
Ann Unger
Melissa Valencia
Mr. Valencia
David Veal
Robert Wannamaker
Norma Warden
Rosalind Wayman
Marlowe Weisman
Brittney Westover
Martha Wilcox
Leon Worden
Eileen Zeidner