HomeMy WebLinkAbout82-161'~`~~k~`~ '~ ~.* ~ +.~~N`.!, ~: : G4UNTY OF -'BUTTE, ~`STAT~E .OF CA'LIFORNIA ~ 1''~ =
~esolufion 11~0. $z-~-61
ftE50LUTI0N 0~' THE BOARD OF SUPERVI50ft5 OF THE COUNTY DF BUTTE
APPR(~U~N~ 'PA~,T:CCTPAT~~N IN THE 1982~-83 STATE LOCA~/PARTNERSHIP PROGRAM
OF 7HE CALIFORNIA ARTS COUNCIL AiVD AUTHORIZING EXECUTIDN
OF ~1 rR~1NT C~I~E~f~iACT W~TH ThfE CALIFQR~4IA AR~S COUNCIL
WHEREAS, the Ca.~iforna.a Ar~s Council and ~he CaJ.a.Fornia State
Legisla~ure ha~e established a State/Local ~artnership f'rogram designed ta:
'~. EnhaneE Ioca1. cul~ural planning and cfecision making;
2. 8roaden the base and enhance the responsiveness of Ar~s
Council programming; and
3. Heigh~en nppor~uni~ies fnr ar~asts and interested ca.tizens
to d~.rec~l.y affect arts pa~.a.caes ~nd practices; and
WHEREAS, each cbunty in the State o~ California is eJ.igable to
receive an unmatched $'l2,000 Block Grant for planning and administrative
expendi~ures accardir~g ~.n ~.he 1982-83 S~.a~e/Local Guideiines.
NQW, Tf-[EREFORE, the 8oard of Super~isors of thE Coun~y of Butte dc~e~
here~y ap~rove participa~ian in ~he 1982-83 State/Loca~. Pa~tnership Program
and designa~tes i~self to execute Standard Agreemen~ Number AC-2329 ~.n the
form attaehed and incorporated by re~'erence herein.
PASSED AND ADQPTEp this ~9~h day of Oc~.ober , 1982,
by the fallowing vote:
AYES: Supervisors Do~an, F'ulton, Moseley, 5araceni and Chairman Wheeler
NOES: None
ABS~NT: None
f~DT VOTING: None
n
UH Wt1t~Lttt y ~naarman
te Cnun~y Baard of 5upervisors
ATTEST: ELEANOR M. BEC~CER, County Clerk
ar~d ex-officio C1erk of the Soa~d of
5upervisors
ST!`,`~~i;~~;~ AGR~.FMENT -- ~ _
ST~,'E';"3- CxL~f'~?R41A - . .
$;:~ ~ , da ~ of S~Ptember ~= , 19 82
'I'l;]S .~GREE~fE\T, made and er~tered i~€o this 24~h ~
i-~ €h~ State of California, by and 6eaa~een State of California, thrnqgh its du]y elected or appointed,
qua;'sfied and acting
~i
Cal~~'ornia Ar~s Cauncil
~ CGNTRAC703i
~ STATE AGENCY
~ QEPT. DF GEN. S~R.
~ COIJTROLLEii
^
0
n ~
i AC -- 2329
:zCrPa:.t~r calre7 Fhe 5tale, a~td
Count of Bu~.te, Board of Supervisors ~
lrereQfrer called rhe Contrcrrtor ar~d/or Gralrtee. Qy' OCd ar 1121"
~~'1T\E55ETfi: Tl~at the Contractor for and in cansideratior~ of tl~e covenants, coE~ditions, agreements, and siip~lations of the Statf
h~reir,after enprzssed, does t;ereby agree to furnish to the State services and materia}s, as folloa°s:
(Se1 jorlh sert•ice 1o be rendered b~' Cvnrrecfor, amotrnt to be paid ConrruCdpr, time for perfarmnnce ar cp~7rpleiion, and at1aClt plans and specificaliorts. !f antt)
Contrac~.or s~a1~ be paid a nonmatched block grant in,~he amount entered be3ow
and sha11 exQend said block grant in accor8ance wi.ti~ tF~e "Caii~ornia Arts Gora~tcil
StateJ~.oca~ Partnership Program ~ui~e~ines: 1982r83° in ~he form attached hereto
ar~d incorporated by refererce herein.
Payment shail be made after cantrac~ a~prova7 upon subm~~-~ai of an invoice from ..
Loca3 Partner to CAC.
. Th~ Fa~r ~mploymen~ Prac~ices Addendur~ and Genera1 California Rrts CoUncil
Requirements are attached f~ere~a an~ are F~ereby made a par~ of ~~is cantract.
Dates: Sea~em~ber24, 1982 - Rugus~ 3~, 3983,
Amount to be ~aid:~~ ~12a000
The pro~•isions o~ the reverse side hereaf constitute a part of this agreement. ~"
I'~T ~'~`ITtiESS `t~HEREOF, trtis agreement has beer~ execu~ed b}~ the parties hereto, upan ihe date fr5t above u~ritten.
S~AT~ OF CALIFO~NIA CON~RACTpR
kGF':CY GOWTRAGTCri [i~ OT~sER Tf~aN kk it~C~IVIDUAL STA7E "ir-'.cTHCR A I;QAPpRAii~7N,
PA:+TtiEFSHi~ EYC.)
Cali~arn~a Ar~s Council
2Y tiktJ7HpRIZFp 51~^,!`YkT AE) BY (AUT ~Z ~ SI{i 'hi'iIRE]
~
~ ~ ~ ~ ~ ~OIrT ~ 9 ~
. -.
c
TIiLE ~ . ~ ~ ~ •
D11^2CtOr ~ Chairmar~ Butte Count' Board of Su ervisors
AOOAE55 ~ __
25 Coun~ Center Drive Oro~ille CA 95965
~ .~~ ..,. ~. .,.. .M _
' Fe.s•i.uuonLr.. '
~- A1dCilNT ENCC1MaEREO APPA6PR[ATIOA! FUN~7
~ 32,000 Lacal Ass~stance Ger~era~
Uh'FhCL~:!gE~EO BALANC~ iTEM CFiAPT@R SFAiUT~S FISC~+~ YEAFi
~~~~ i~"`~--.~------_.~ ~ 82b-10~ -0~1 32b 82 1°82-83
~~" < <s~~csccr
; ~FfTil`77~` Ot ~r.}~nC
i~ F`=i~ aj S^CYIC05
A~ ~~=~~d~~~~~
~~T .
~!~~ ~ t9
BY HROG111q~ SCGNED gt.
MRS ~' ~44Y7t]rv
~S'k Chief Counse)
4DJ ING~i@Au~tiGENCU~:•6FANCE hV~1G~~V~`7
~ S~a~e/Local Partnership Proqram 40.40
~' D.1 ~EC~'ckS:VG ENCUMBR:.NCE LINE 1TEIll ALLOTMEIJT
~~ .
74~4Q0, 52Qa, 707.~2
~! I:crPh,s• cerrif;' tt/~i~n »ir u~rtt Pr~rso~rul k~to5t'ler~~~e' rltur ht~rlg~~rcd,lir+adc '~,~ ~,;, 3.F. N~
are nrnilu^ir !nr rhr prric~d mid,~~urpo~c u(~J:i r.ty~r~rclirurr crnrrJ nh„re.
S~~h:.T~~E ACCOUyTinG OFF CER ~~;~
~~y . Lfr~-~ //-~ -d °~-
1!:~•r~ ~: rrrfifr 11~ar a!! r~,~rtirrru:i,c ~r~r a.rcnrp:ir,i~ tirl,rorrlr in Srarr .-~rlr~.:~ris:~.rri~•r .:fu1;u~11 $r~,:,m !'~~9
~ l1Gtc ni'C~} (illf:p~lf(I 4:',rli mad :Jp1.S ih+c't~irnl rs r.~a•!':P1 Tr~>i~r rcrrr~~- .~r :~:t Uty~ar;!n,'rpr i~1 f'~'t~r~rc.
~~G .-7v=E v Cfii,"c~i S=G'~'bdG3 0~~~~~+'~/E~J~~-4E cG~r;~ ~:]nT~
~'
~l 2 ~-;
1. The Contractor aarees to indemnify, dcfend and sa~~e harmiess the State, its oE~icers, agents
and emp]oyees from any and aIl claims and ]osses accruing or resu]ting to any and a]t contractors,
s~bcontractars, rrsaterialmen, 3aborers and any other persan, firm or~ corporation furnishing or
s~~pp]}~ino ~s•ork, sen•ices, materiais or supplies in connection ~+~ith the performance of t~is contract,
and from ~3jy and ~11 clairs3's ~~nc~ 3osses accr~ing or resu~fing to any person, fixm or corporation
~~•ha ma~~ be injured or dnma~ed bv the Contractor in the performance of this con#ract.
2. The Contr:~ctar, and the agents and em~lo~~ees of Contractar, in the performane~: of this
a~reement, shal~ act in an independent capacity and not as o~cers or ern~loyees or agent, of
State of California. ~
3. The S#ate may terminate t~~is agreement and be relie~ed of the pa}~ment af any conssder~~~ion
to Contractar shou~d Contractar fail to perform the cover,ants herein tontained at the time and
i~l the rnani~er herein pro~•ided. In the eve~~# of such termina#ion the State may proceed ~s•ith the
«~ork in ~tn~• ma~~ner dcemed pro~er by the Sta#e. The cost to the S~ate shall hE deductec~ from
~n}- sz~:n due the Contractor ~nder this agreement, and the bala~7ce, if :in}=, shalj be paid the
Contractor upon dem::nd.
4. «'it)ZOUt the ~s•rittEn conseiit of the State, this agreement is not assignabje by Cantractor
either in .~•hole or in part.
~. Tin~e is the essence of this a~reement.
6. ~o altera;io~ or ~•ariation of the terms af this contrZct shall be valid unIess m~ide in ~ti~riting
and si~ncd by #ne par,ies hereta, and no oral understanding ar a~reen~ent not i»corporzted herein, -•
shat] be binding on an}~ of the parties hereto. •
1. The consideration to be paid Contractor, as pro~~ided l~erein, shall he in cofz~pensation for
aII oF Contr:~ctor's expei~ses incurred in the performance hereo€, including travel and per d~em,
unless athcn~•ise expressly sa pravided.
FAIR EMP~OYM~IVT PRACTICES ADDENDE.lM
~' r~ t~e performance of this con
for employm~nt tract, fihe Contrac#or
becau~se of race, wFl1 not discrlrrtpr~ate a
Cantractor ,N~~j t~~~ color, religion, an~esfr ,~ gainst an
affirr~a~ive actpon Y, sex , age*, nation~} prigin, o~ y emp~oyee or app~icant
during emp~oyment, withaut re to ensure that a
Pplicants are ern Ahysica! ha~dicap*, The
handicaA*, Such action shall includeto the~r race, color, religion, artcest ploy~~, and that em
or transfer; recruif~ent Qr ~e but not P~~Yees are treated
he iimited to ~'~ sex , ag2*, r~ational nriqin, or ~
sation; an,~ selection far cr~ifiment adve r f~~ fQ~fowing; er-iplo P Ysical
trainin ~t~sinq' layoff or termination; ~ Ymer~t, ~pSradin
able to em 9, including aPprenticeshi ates af pay or other for g, derr~otion
P~oyees and app~RCa~fs ~or em ~• T~~ Contractor shalf ms of cpm
ef this Fair Emp~o men Alayment post in co~s Pe~.
Y t Practices sectlon, '~~t~ces to be provided p ~~C~O~S F~aces
Y the State setting po~~ ~ avafl.
2. The Contractor the provisions
{f°n fiorms, w~~~ p~rmit access to h'
and ather pertp~enf data and relcords b cQrds of em y
other agen~ ~tQ +~"1ent~ en"+p~oyment advertiseme
y of the State of California desi4nated by the State Fair ~rn rtts,
ascertain com p~~Yment Practices Co ap~~~~a
pliance with the Fair Em Y the awarding authorit mmission, or ariy
p1Oyment Practices section o~ Y~ fflr the purpose of investi
3• Remedfes far Wif~fuf Vlolatpon. fh~s con~ra~t. 4ation to
~~) The State m
aY deterrnine a willfu~ viofation
occurred upon recei of fhe ~`a~~. ~m Y
Contracfor ~,~5 pt ~f d f~nal judgement havin P~O m~nt Practices
~ par{y~ or u 9 t~at effec{ frorn a tflur# • p~~v~s~on to have
Commission that it t~as investigafed andr d~ of a wr~tfen ~~ a~ action
m~~t Practices netFCe from the F• tO which
Act and h terrxi~r~ed #ha{ the Con r arr Frnp~oyment Practices
as Issued ar~ order, U~~~r ~ a~for has violated the Fair ~mAloy_
or obtained an injunction undQr L~bor ~abor
Cade Section 14~~ ~ode Section lqz~~ which has become final, y.
{b) For wilffu! violation of
terminate th~s Fa~r Ernploymerit p~actices r
this contract either in whole dr ~n A ovision
sec~ring t~~ goods or serv~zeS ~ereunder shall be borne ~ th~ State shall have the right to
and any loss or d
surety under t}~e amage sustained by th~ Sfat~ ~n
thereafter ma ~grforrn~n~~ bond, ~f aRy~ a~~ the 5 and paid for by ~~e Coritractor and b
Y become due to {he Contractor, t~ t~{~ may deduct frpm an y~~s/her
anc! the actual cost thereof to the Stafe, y mflneys d~~ °r
~ e ditference between the price named ~~ }~a{
- fh~ ~ontrac#
*See ~,Qbor Code ~ections 141 x_ I432 5 fQr further details,
~T~• 3 ~6~7y~
~ _ ... .__._ S~ction 3601 --"
General California Arts Council Requirements
Z. Project Defined: As used in these provisions, the term "praject" shall mean that proposa[ described on the grantee's .
appEication and incorporated in the grantee's cantract for which the grant was awarded.
2. Grantees may not use Federal funds ta match Federal funds provided by the Arts Countil thraugh the Council-grantee
contraci.
3. EXCESSCOSTS: [nt~nee~entthattf~eprojecttastsexceedtheamountspecifiedintheap~rovedbudget,granteeagre~sto
cornplete the project and fund the cost above said budget #rom sources other than State funds.
4. C~STDlSALLOWANCE: GranteeagreestousethegrantfundssolelyforthePurposeseftheapprovedprojeci.Costitems
far the purpose af determining tf~e "cost" of the project, as that term is used in these requirements, shall i~cEude cash expended
(or in lieu thereof, contractual obligations incurrec! forthe Project) and the fair vafue, as determined bythe Council, of servicesor
products actuaEly incor~orated thereir~. The burden of proof sha[I be upon the grantee ta establish suth costitems,and such tast
items may be disal[ou~ed if not adequately supportecE by the records. 5hou[d grantee rnisapplyany grant monies,and fail to make
restitution to the State of any amounts due underthe terms of the grant agreement, ir~ additior~ to any other remedy provided by
faw, tE~e State shall have, to the extent of its appropriate daim, an ownership in anyfunds or propertyacquired witF~ the use nf such
misapplied funds.
5. RErURN OF GRANT FUl~1D5 EARMARKED BUr N~ LQNGFR REQUlRED FOR 5PEClFlC lTEMS: Where tf~e budget
specifies that grant funds are to be used for specific items, and s~bsequent to the receipt af the grant, the grantee obtains the same
without cost, or at a reciuced cost, the saving, except for good cause in the j~dgment of the California Arts Council, shall be
promptly returned to the State.
6, REDUCTlON OF STATE'S GRAlVT: Notwithstanding any other provisio~ of these requirements, should the project, to
time of completion, ar termination in whole or in part, cast less tF~an Ehe appraved budgeted amount on which the grant was
based, grantee's rr~atching amounts (including funds, or services or products incorparated into the project in Rieu tf~ereof) shall be
conclus3vely deemed to F~ave been expended first, and the grant s~all 6e reduced by any amounts remaining after completian or
termination of the project. Such remaining amounts shall 6e promptfy f~rwarded to the Arts Council.
7. COSTS RECQRDS: Grantee shalf maintain compleEe, accurate and current records af a!I income, incEuding obligations
incurred with respect tF~ereto. 5uch records, or copies of such re~ords, shall be kept separate from othercost recorcls. ~uringthe
cEuration of the project and for not Iessthars four years after campletion ortermination of the praject, gra~tee sha11 rrEake a~ailaME
for examination or audit any books, docurnents, pa~ers or records pertaining to the project, to the CaEifarnia Arts Council, 5tate
Cantro[ler or where pertinent, the Federal Governrnent. Upon request of such parties, grantee shall furnisf~ at its own expense
legible capies of materia[ they der.m pertinent.
8. EVALUATlON AIJD EXPEND1TiJRF REPORTS: Grantee agrees to fumish at s~ch times during or ~pon t~e completion af
the pro~ect, as may be determined by the State, and where requested by the State, on forms fumished bythe 5tate, evafuation and
expenditure reports reEating to the pra~ect.
9. FfDERAL MlJ~7MUM WAGE REQUlREMEN75: Grantee agrees tE~at wF~ere thE grant consists in whole or in part of Federal
f~nds, and/or State that alI pro#essional perfoCmers and related or supporting persannel employed on tFse project wil{ be paid,
witF~out subsequent deductian or rebate on any actount, not less than the minimum compensation as determined by the
Secretary of Labor to be the prevaiiing minim~m wage of the State o{ California for persans employed in similar activities. Farthe
praper canstruct9or~ of this section; granteE 9s referred to Part 50~5 of Title 29 of this Code of Federal Regulations, as last amended
June 39, 1972 and as it may be 4urther amended from time to time.
'E4. MENTlON Of FHF "CALlfORNlA ART5 COUNClL" AND "NATlONAL ENDOWMENT FOR 7HE ARTS" OR ANY
FEDfRAL AGENCY SUPPORT: 1n any printed, visual or retorded matter, or in any exF~i~ition, display ac perfarmance, which
describes or is pre pared in con nection with, or resu Its in whole or part fra m the gra nt, mention shall be made of the Caiifornia Arts
Co~nci!'s suppart, and where tF~e grant is derived in whoEe or in pari from Federal funds, of the support of the Federal Agency.
Copies of printed matter containing such mention shauld be sent to the CAC with the evaE~ation report rec~uired by the terms af
tne grani. Any documents containing such mention shall specifythat anyfindings,opinion,ortanclusionscontained thereinare
not necessarily those of Ehe Cali~ornia Arts CounciE and, where applicable, not necessariEy t~ose of the Federal Government or the
Nationa! ~ndowment for the Arts.
rt1. FVALUATION: The final ten percent (~Q%~ of the grant award will be withhe[d unti~ grantee has submitted the fi~a[
eva~uation re~ort.
~2. As an ageney which receives federa! ftands from the National Endnwment for the Arts, tf~e California Arts Cauncil, alon~ ~
with all its grantees, must comply +vith the p~nvisia~ss of Section 504 of the Rehabiiiiation Act o# z973. The 504 regufations requi re
all grantees to conduct an evaluaEion af afl policies,practices, and programsthatare natequaflyavailableto handicapped peop[e.
41'hen structu:al modi{ications are necessary to achieve accessibility,the regulations require the de~elapment o€a transition plan
outlining the development of such a plan. Ha~~dicapped persons, or ofganizations representing them, rreust be incfu~ed in
developing t~is plan. A copy of ihe plan must then be a~ailabfe for puhlic inspection. The 504 regulations do 3-~ot require.
affirmat'sve action employment of the handiczpped, but theydo mandate grantees to jud"ge appEicants for employmentsolelyon
the basisof theirqualificatiQns. t~ondiscriminatoryemployment practices must also includeaccessible jab appiicationsand ~ublic
notices of emplo}~rr;ent, Grantees are responsible for self-evaluation and must also develop their own plans for compliance.
~. ~ ~ . _ _ti ____......~ I_..:I:.:..,. ....~.~r ~..~ z.ri.ilnrYe~r~Il~i arrPCCi}~~e~ FfV fvtav.'14R2.
~ - . - ~~~o~~~~o_~
.(. . . .
~• FY 7.9$2-83 STATE/L~CAL PART~ERSH~I'
Public i~eet~ng ~ . .
Santa Barbara, CA .
July 3fl, 1982. .
,
- j,~HEr~EAS tihe California Arts Counci,I budget for 19$2-83 calls for
' the continuation af the State/Local Paxtflership Program, and
~.: ~,THE~~AS the awarding a~ contra~ts to~ organizations under tihi.s .
~ - prooram i.s established by regulation, ~
~ \SOW T~i~,REPOR~` B~ IT RE50LVED .~~T:
'Fhe Az'ts Council award a Block Grant to everp eligible local partner
~ ~,~nich chooses ~o partica.pate in the 1982-83 5ta~e/Loca~. Partnership
i . .
- ; Propram. ~
'~ . ~
~ ..
Resolu~ion Passed.
°I hereby cer~ify that the foregoing is a true sufrm~ary of Counc~l
minutes," ,,~
- ~ - ~ l,fi~lliam B. Coak, Director ~ ~
~ "
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S ~i1~I'~I~QI~].~ L1I~d2~~~2~d
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•. ,
.,
• ~ ~ ~ ~ CA~I, ~IA ARTS COUNCIL
M1S5ldN STATEMEN~
7o provide a new vision o~ Cali~ornia's people, tv and thraugh t~em-
sel~es, gat~ering from t~e traditians and ski11 of all our cultures,
to praject the possibii~ty that a people could be immersed in the arts
and the satisfactions of creativity, as a natural part o~ daily life.
~he California Arts Council believes: That the arts in California, and
th~~efore the people, ~re best served by encouraging the legitimacy of
cu~tural dEVersity and the interaction of such expression everywhere.
We do this in two ways:
1. We use aur energy and resources ~o unlock a~d
help dir~ct the potential resources for arts
programs in business, industry, and all public
and private agenc~i~s.
2. We use our resources ta help support arts pro-
grams that carry aut the Covncil's missian and
to demonstrate what can be dane.
ThE on-going responsibilities of the California Arts Counci] are:
1. To awaken and .strengthen ~he creative, problem-
so~ving abilities af all Californ3a's people hy
increasing their opportunities to participat~,
study with, or watch creative artists at work.
2. To expand training opportunities for artists.
3. To encourage a stable base o~ employment and ~
s~pport for Califor~ia artists by fostering
c~ltural programs wit~in every appropriate .
governmental agency, designed to empioy the
skil] of artists in aiding those agencies to
pursue their stated goal: ~
4. To ~ourish and support excellence in the art
of every culture in Ca]ifornia, so tha~ the
peop]e of this State may become conversant
wit~ the tota~ spectrum of creative expression
available in California ~oday.
5• 7o aid artists by supporting or creating ~agislation
that protects th~ir interests or enhances their
survi~a~.
b. To fosfer and support programs designed to test
the.utility of art as a problem solving mechanism.
Chairman:
Karney µodge
Vice-Chai~person:
Marga Atbert
`~ Cauncil Members:
Peter Coyate
Ann Getty
Steven Goldstine
CharlES Haitl
Consuelo S. Killi~s
Noah P~rifoy .
Joan A. Quin~
Marcia Weisman
Marl Young
Director:
William B. Cook
Deputy Directiors:
Paul MI~ECUGCE, Program Planning
and D~velopment
Christine Orth, Program Adminis-
tratian
Lenwood Sloan, Services
to the Field
Todd Kaufman, Director af
. Administration
Programs described herein, and the
levels of funding within each program
category are determined by the
California Legislature's 1982-83
budget appropr:iation to the
California Arts Council.
The Caii~ornia Arts Council i5
located at:
190i A Broadway
5acra~ento, CA 95$18
g16-445-7530
T~e California Arts Council was
established January ~g76 to en~ourage
artistiG awareness, participa~ion and
expression; help independent loca3
graups de~elop their awn ar~s programs;
promat~ the employment of artists and
those skilled in crafts in bot~ the
public and private sector; provide for
the exhibition o~ art works in puhlic
6uildings througha~t California; and
enlist the aid of a~i state agenGies
in the task of ensuring the ful]est
expression of our artistit potential.
These mandates are the foundation
for the activities of the Arts Countil
at every stage of its operation.
State/Local Part~ership Staff
Paul Minicuc~i, Deputy'Director
Robin Kaye, Director
State/Lacal Partnership Program
916-323-6597
Maure~n Mil,ler, Assistant
State/Loca] Partnership ~rogram
9i6-3z2-89y5
TABL~ OF CdNTENTS
1. PROGRAM ~ESCRiPT10N
il. PROGRAM OSJECTIVES
III. ~ROGRAM N15TaRY - ~
iV. PROGRAM STRUCTURE .
' A. ~ ~~.OCK GRANT ~
~ 1. THREE PHASES OF PLANNiNG ~ ~
2. CONTRACTING PRdCEDURES .
. 3. D ES i G NAT ! Di~ , ~
~+: EXPEND i TURES ' ~
. B. ~OCAI~ P~i I OR I T I ES GRAI~T ..
-'~ i. COMPilTATI ON OF TH~ .LOCAL
~ ~ PRIORITIES GRANT
~ ; 2. GOV ERI~M~NTAL APPRDVALS ~
~ ~ . 3 . REV { ~4! PROCE SS ~ ~ . .
% 4: R~PQRTS ~
:: V. TIMELINE '
~ Vi. APP~I~pIX (l7NDER SEPARA7E COV~R} .
~ A. C ITY~ COUNC ( L l.ETT~R ~ : . . .
~ B. ~ BLOCK GRAN1'~ R~f'ORT
C. LOCAE. PRIORITIES GRANT REPdRT : ,
D. l~f'pATE IiEPORT ~.
E. EFFORT FAC70R ~REPpR~ 1 NG FORf~S .
{NO7~: AN AS~~RF SK (::) 'INDICATES TWIS 70 B~ A CNANGE FROM TFfE ]981-19$2
GtJIDELfNE S.) - ' ~ '
[. S7AT~/LOCAL PAR7~ERSHIP PKOGRRM DE5CR4PTION
T~e heart of the State/Local Partn~rship Program is the alliance between
local governmentS, the Califprnia Arts Council and arts planning bodies
composed of local citizens. !n this partn~rship, it is thE Arts Council's
intention to uti3ize and direct the b~nefits of all partners towards a
common goa].
7he California Arts Cou~cil believes that the arts in the State will b~
better served by local partners who have the sensitivity and heighten~d
capacity to respond to the arts in their iatat cam~unities. The 5tate/
~ocal Partnership Program is designed to provide communities with the
opportunity tv define their particular arts needs and goats, and to
devetop programs to achie~e those goais.
There are three primary goals of the California Arts Council's State/
Local Partnership Program:
1. To encourage local cu3tural planning and decision-making.
2. 7o broaden the base and enhance the responsiveness of
Council programming.
3. To heighten opportunities for artists and intarested citizEns
ta directly affect arts policies and practices.
To impiement ~he first~goal, funds are made available annua]ly ta 5$
cou~ties and four cities (Los Angeles, San ~rancisco, Rose~ille and
Valle~o) in Ca~ifor~ia through a Block Grant to local governments
(county boards of supervisors or city councils}. These unmatched f~nds
ar~ offered far the purpose of deve~api~g countywide plans for the
arts, as we11 as for maintaining entities that will carry out the
recommendations of fhe plans. Al~hough a governmental body itseif may
choose to do this, it generally designates another organization both to
prepare the plan and to impiement it. At presant, the program consists
of private nonpraf+t organizations, government commissions and se~eral
hybrids.
The resultant plan implements the second goal by building on a base of
ac~i~e, affirmative public participation. Participants should include
minorities, or individual artists, the home-bou~d elderiy, underserved
constituencies, or the general citizenry of an Underser~ed county. !t
is up to t~e 1oCal partners ta ascertain their ~onstituencies and their
needs.
Thirdly, by involvi~g ~ocal governing hodies, the a~ts become general
and electoral issues whi~h ~oca] citizens may affect most directly by
working in their ca~muniti~s to Greate dialogue, debate and, ~ltimately,
eleGtoral outGOmes.
The Arts Council provides a second source of funds on an a~nual basis.
After the county arts plan is approved by the local baard of supervisors
and the California Arts Council, a Local Priorities Grant is awarded.
T~+s one-to-one matching award, to be used for proje~ts and programs
outlined in the ptan, is an implementation grant.
State/Local~ then, is a Partnershi~ befween ~ocal governments, ~ocal arts
graups, artis~s a~d citizens, and the California Arts Council, all work-
ing toward the ide~tified needs and obj~ctiv~s of the people of ~he
State of Califo~ria. T~~ Partinership Program is one af shared respansi-
biiity and equal commitment to develop, strengthen and preserve
Califarnia's cultural diversities.
~or further information, please contact Robin Kaye, Director, State/
Locai Partnership Program, (91fi) 323-659~. ~
f~l. PROGRAM OBJ~CTIVES
a. Provide a mechanism for more effective local arts planning
and to coordinate such planning with sta~e programs.
b. Develop rural and suburban areas which ~ave not fully parti~
cipa~ed in arts programs.
c. Provide a more stable base of support for the arts hy expanding
pu6lic and ~rivate sector support at the local level.
d. Give iocal go~ernment agencies the opportunity to assist the.
California Ar~s Council in improving artis pragramming.
e. De~elop a~d foster the potential for shared responsibilities
between the Californ~ia Arts Council and the local arts
agenci~s +n the administrat+on of ather Cauncil programs.
f. Preve~t duplication and overlap between federal (ad~inister~d
through California Arts Cauncil), state, and ]ocal programs.
g. Provid~ for increased employment of artists.
h. Stimulate the economy.
EII.. N1STbRY
The State/Local Partnershi~ Program was developed from an original con~
cept presented to the Arts Cauncil late in 1977 by a consultant named Art
Bo]ton. Mr. Bolton designed a structure using the County Soards of Super-
' visors as the oversig~t aut~ority to a series of County ArtS Boards. These
Boards were to be formed in each county by the Boards of Supervisars and
the Arts Council,and their responsibilities would have included making
grant decisions for a number of their exist+ng ~rts Council programs. It
was thought that two major achievements could be accom~lish~d through this
restructuring. First, local people, cioser to the artists and organizations
in each county~would be able to judge the quality and merit of proposals as
well as state panels, and in so doi~g would broaden t~e base of responsibility
an~ polici.tal awareness of the cultural needs of the S~ate. Se~ondly, this
-2-
new decentratiaed str~cture would allow the Arts Council to focus on
- policy matt~rs and the concerns o~ integrating the artistit process into
state government as well as other statewide concerns.
A pitot program bas~d upon Ba]ton's cancept was included in the FY 1978-
79 budget, 6ut was eliminated by the passage of Proposition 13. An in-
hous~ study, and a later study done by Steve Thompson and Associates,
refined the County Art Baard idea into th~ present State/~ocal Partn~rship
Program. ~
In the past twa years the emphasis of State/Local Partnership has been
u~on ptanning as a pre-step tio any.programming including decentralization.
The Cauncil's definition of decentra33zatifln emp~asizes "shared responsi-
bilities" that might arise between state and iocal government cultural
ievels. A pilot program run in FY 1981-$2 witl saon yield data on the
impact of sharing responsibility for same current Council grant pragrams.
At present, the third year o~ the State/Local Partnership Program will
see most Partners compl~ting either ph~se two or phases two and three as
explained in the next section of these guidelines.
IV. ~R4GRAM STR~CT~RE
f~ early falt, Counties wiil be invited to co~tract with the California
Arts Council for a$12,000 Block Grant. These funds are intended primarily
~or planni~g and ad~inistratEVe expenses, a~tHough once a Partner has com-
pleted ~hrough Phase (II, these ~unds may be used far programming in accord-
ance with the local plan.
While planning is seen by some as the panacea to the sametimes chaotic
world of arts pragramming, others see it as an expensive, and of~en useless,
exercise for adm.inistrators. We define planning as an instruc~ive data
gathering device for laca] partners ta define needs, access resourc~s and
develop meaningful and attainable program ob~ectives. The process of planning
also provides a vaiuab3e forum for public discussian of the loca] cultural
needs wit~in each county,
It is in this spirit that the Council b~lieves p~anning is best utilized.
Plan for ydur needs locally. You, as Local Partners, will profit by being
i~ touch with your whole community as you assist in addressing local
priorities and making local decisions.
We a~e aware of the immense nEeds for program funds, and do
many frus~rations i~volved in using ~unds ~o pta~ while some
programming needs go unfilled. We firmly be]ie~e, however,
is a long term pragram with far-rsa~hing goals which will be
carefu] and judicious planning. ~
not slight the
very obvious
that 5tate/Local
best s~rved by
-3-
A. 7he ~lock Grant ~~
1. Three Phases of Planning
At its December lbth, ]9$Z meeting, the State/Local Advisory
Panel recommended t~at Partners be a]lawed three years to compl~te
their local p~an, according to the fo~lowing timeline:
P~ASE ONE--Due March 31, 1982
i. Description of the agency designated as "Local Partner".
2. ~escription of agency's procedures for expending funds
(other than administrative expenditures); haw programs
are selected, who is responsible for budgeting of programs
and how approval for bot~ programming and budgeting of
programs is abta+ned.
3. Description of inethadologies used, or planned, for the
completion of the camponents o~ phases one thraugh three.
~. Demographics.
, ~. Roster o~ ~ocal Arts Organizations.
b. Local Effort ~actor.
PHASE TWO--~ue March 31, 1983
1. Inventory and descrip~io~ of existing arts facilities.
In order to maximize use of existing faciiities in relation
to planned arts activiti~s and programs, and to he be~ter able
to ascertain the needs of your arts community, an inventary o~
arts facilit.ies sh~uld be compiled. it might include ~he
foliowing ~inds of in~ormation:
a. A listing by type and passibje use of facility
(performance hall, exhibit space, etc.)
. b. Name, address and telephonE number o~ contact person.
c. Seating ~apacity.
d. Rental casts.
e. A~ailable equipment (slide projector, piano, sc~lpture
stands, etc.)
-~-
~. How far in advance must the facility be reserved?
g, what kinds of access does the facility provide for
t~e disabted?
h. What kinds of public transportation serve the facility?
7hese questions are in~ended to be only an introduction ta t~e kinds of
information a Partner migh~ fEnd of value. If any Partner wishes to go
further, t~e Arts Council has several ~aluable publicatians that cover
the subject in much greater depth, and we would be glad to share them
with aur Partners.
2. inventory and description of existing public and private Gul~ural
resources
Again; this information
and the Partners should
process. What we are s
co~e aware of, and ~ake
relative ta the general
county.
is to be of primary value to the ~ocal Partner,
shape the search to their needs and planning
~ggesting her~ is t.~a~ the Local Partner be-
availab3~ td the community, information
cu~tural and artistic enviranment within the
For example, the Local Partner might in~entory and descri6e the status
of sc~oot arts pragramming. Which of t~e schools within the county
have 5chool Improvement ~ogram funds? Are there any S.B. 1735 sites
at the schoals? Which schools offer adult education courses in thE
arts? {The State/Local staff would be glad ta assist you wit~ more
questions relative to schao] arts programs.)
The inventory might includ~ a survey of galieries, museums and
community centers that pravide arts or culturat resources for your
~ommuni~y. ln additian, it might include t~e fol.low~ng kinds of
resources:
a. Seniar Centers (Area Agency on Aging)
b. Family Pianning Centers (State's Department of Health
5er~ices}
c. Adult Correctional Faciiities
d. Califor~ia Youth Authority ~acilities
e. Mental Rehabilitation Hos~itals
f. Veteran's Hames
g. Hospitals
~. Gammunity Golleges
i. Stat~, County and lo~al parks
j. County Fairs
-5-
These and other social instiitution~ and government agencies aften Provide .
valuable arti.stic apportunities to the county throuqh the use of public funds.
The inventory might also include the pri~ate r~sources a~ailable to tihe
pu~iic within your Part~ership. Some examptes:
~. The Witkin Gallery {weekly art appreciation lectures}
b. Taylor's Art Store Gal~ery {ev~ning ciasses in the
visual arts) ,
c. Elaine Kauwenaol~ Kaopuiki's H~la Studia (hula classes
for the public}
As wit~ the faci]ity inventory, tihis resource direc~ory might inciude the
following kinds of infarmation:
a. Name, address and telep~ane number of the contact person
(See Phase One, Number 5)
b. ~inds of resources avai~able
G. COSti t0 t~E pU~~1C
d. ~ours of operation
PHASE THRE~: Due March 31, 1984
Phase Three is the heart of the State/~ocal Partnership Program. The first two
phase5 can be seen as t~e perimeter, the data ba5e. Once ereGted, however, the
Partner can then begin to s~ape and develop the actual plan itself, keeping in
mind the following six components:
1. Com re~ensive list of needs
The Partner's inventories have made visible the q~antity and quality of
the arts resources within the Coun~y. From ~hese lists, and with additiona]
direct participation o~ fihe local community, the Partner shouid be able to
develop a comprehensive ~ist af needs--"A condition or situation in which
.. something necessary or desirable is req~ired or wanted."
2. Comprehensi~e list af objectives
Coupling the Partner`s in~entories with the list of needs should bring the
Partne~ to its objectives--how ta fulfill the needs. While t~ese abjectives
may include p~ilosophieal principles, they should be incorporated into
manageable ob~ectives with a reasonable expectation ~or success.
For example: The Lanai County ArtS Commission`s inventory has shown that
~anai County h~s no adequate artiist training program. The Lanai Caunty Ar~S
Commission, after much public discussion, decided to make the development of
an arti5t trai~ing program one of its o6jectives.
_6_
.
3• Methodology for at~ainment of~objectives
Once a need F~as be~n deterr~ined and an objective esta6lished, how,then
wial tha~ abjeGtive be attained? Will the Lanai County Arts Cammission
hold public hearings? Wil] it establ~sf~ a cammittee with the loca]
commur~ity colleges? Will it develop a dialogue witih the local office of
the S'tate's Employment Develapmerrt De~artment?
4. Pro'ect~:d schedule for attainmenti of ab'~ctives
5. Provisions fo~- monitarin and evaluating th~ ob'ectives
6. Description of inethodoio for ongoin ~a date of the local arts ptan
Numbers 5 and 6 address how the Local Partner will review and keep
current his planning progress. What procedures have been or wi~~ be
imp~emented tfl assure continual public input, an angoing review, and an
evaluation of thE plan?
2. Co~tracting Procedure (Block Grant - Continued)
a. Cali~ornia Arts Council sends ~ontract to the County Board o~
Supervisors in the sarty fall.
b. County ~oard designates contractor with a Soard resolufiion.
c. Contractor completes contract and returns same with invoice
to ~he Arts Co~ncil.
d. Check iss~ed to designated cantractor. Checks can be expect~d six to
eight weeks after completed contract package is returned to the Arts Council.
3. Desi~nation
In arcEer to directly receive the Blocfc Grant and to act as the contractor,~the
designated organization must be among the following:
a. a private, not-for-profit corparation, as determined by the State
of Cali~nrnia's Franchise TaX Board;
b. a p~biicly-funded arts commissian;
c. a local governmental agency, such as a city plar~ning department, or
a parks and recreation department;
d, a reg i oanal consort i um of pr i ~ate, not-for-prof i ts or COIIl~'fl l 5S 1 OI~S
appointed'by two or more County Boards, or; ~
e. a County Baard af Supervisars. In this case, the Board may choose an
ad-hoc group to serve in an advisory role.
- ] -
4. Expenditures
The Bio~k Grant was intended primarily for planning and administrat~ive
expenditures, among which might be:
a. paying full (ar part) time s~aff;
b. hiring a consultant;
c. postage and other consumable supplies (stationary, ~~c.};
d. attending warkshops o~ State/Local sponsnred by ather
Partners (or tac~nical assistance providers, etc.};
e. rental of equipment, such as typewriters, office space,
pu~lic address equipment, etc.}.
This is not intended to be either a compiete or inciusi~e ]ist. Block
Gr~nt funds are to be spent in accordanae with the Local P]an, in line
with these guidelines, and can nat be for any of the following:
a. out-of-State tra~el;
b. capital outlay for improvements to or construction of
6uildings or facilities;
c. capital outlay for purchase of equipment;
d. profiit-making organizations or ventures.
ALL EXPENDIT~RES MUS7 BE IN CdMPLIA~CE WITH GONTRACT~AL LIMITATfONS,
INCLUDING 50~ REGULA7EONS ANp FAIR EMP~OYME~T PRACTICES. TWESE CAN BE
FOUND fN YO~R CONTRACT PACKAGES.
MENTIO~ SHALL BE MAqE OF THE CALIFORNIA ARTS COUHClL'S SUPPORT IN ANY
PROGRAM OR PUBL1CATfON THAT IS F~NDED fN WNdLE OR PART BY THE COUNCIL.
-~ ONCE THE PARTNER HAS ALL THREE P~ASES COMPLETED AND APPROVED, THE BLOCK
GRANT FUN05 BECOME AVAI~AB~~ FQR PROGRAMMING PURPOSES. PRIOR TO CQ~-
PLETING THE THRE~ PHASE5, BLOCK GRANT ~UN~S MAY ONLY BE USEp FOR.PLANNING
A~D A~MINISTRATIVE EXPENDITURES.
B. The Loca~ Priorities Grant
The Local PrioriCies Grant is i~te~ded primarily for programming in accordance
with the Partner's Local Plan. The funds could be used for grants ta
individual artists or organizatians (reqra~ting .~rograms} f~r ~irect
programs by the contractor for festiva~s, workshaps or whatever kinds of
pragrammFng em~rge from the plan. Like S~ock Grant funds, there are a few
specific prohibitions (see above) as well as contra~ctual obl9ga~ions
(~0~ and Fair ~mployment},
- $ -
The Arts Council believes that planning, while tihe mai~ fdCUS O~ the State/
~acal Partnership.Program, is really a vehicle towards pragramming; that,
while pla~~ing never really ceases, programs must be offered simuitaneously
ta the citizens and taxpayers of California. We see the p~a~s as the base,
the ma~,~for programs. Thus,~even for those Partners w~o have not yet
finaiized Phase lll, we sti-11 award a Local Priorities Grant, so that the
Part~ers can provide services for their constituents while still p~anning.
If a Partner wishes to use th~ir LPG for additional ~ianning, that to~ is
accepta6le. Ifi is a Local ~riorities Grant.
D~e to this year's fund'ing cy~le transition, there will be $i79,040 available
for the 19$2-83 L~G. 7his amount will be .awarded 3n the Spring of ~g83 for
tihe period of June 1, 19$3-August 31, 19$3. It is anticipated thafi fuli
fu~ding ($716,000} will be restared in the 5tate/~ocal b~dget for t983-84, and
that those funds wi~t 6e distrib~ted in the Fal~, concurrent with the 1g83-
84 81ock Grant. ~
%1 . Computat i on of the Loca t_ P r i or i t_i es G ra_n~
The Locai Priorities Grant {LpG) is a one-to-one matching grant awarded
ac~ording to both need and efforti. The~need is determined accardi.ng to
pop~ilation,~wf~ile the effort is~ derived from a formuia that ~i'ncludes a
standard mean deviation,table and compensates for~tF~e variances in county
per capita personal incatne. ~ - -
NEED
Sixty per~ent of the~funds available .far~the Locai Priorities Gra'nt are
awarded accord.ing to popuiation. llsing 198i-82 dollars for illustration,
i t wor~CS 1 i ke th i s:~ ~ - ~
1. The total amaunt of do~lars for 5ta~e/~t.oca:l were $1,~Qfl,Q00.
2. 57 ~ounties-received $12,000 each ~or~the•61ock~Grant, iea~ing
~ $716,OOfl for~fihe LPG. . ~
3. Sixty percent of the $716,000 is awarded~for population, or
. ~~+2g,6oo. . . '
~. That $~2~,b4~ is then~divided by.the population of the ~state to
find a per capi,ta dollar amaun~. ~ ~.._~
5, The per capita dollar
population, resuXting
$42g,6oo ~ X
~~oa;ooo
6. Thus, ~ county with a
as ~#~e i r need share o
amount is then multiplied by each county`s
in the county's need awar.cE. ~ .
~~2,2~3 = . $~zt9-ao
popu~ation of.12,2~-3 would rece~ve $2i9.00
f the~LPG.
. {
-g-
E~~OR~ - Forty percent of the available LPG funds are awarded
~ according to an effort formula:
~he ~f~ort Formuia (Using 19$1~1982 dol~ars far illustration):
1. The total amount of dollars for State/Local were $i,~Q0,000.
2. Fifty-seven co~nties received $12,Q00 eac~ for the Black Grant,
leaving $71b,000 for the Locat Priorities Grant.
3. 5ixty percent af the $71b,000 was used ~or the Need component of
the LPG, leaving $286,400 for ~he Ef~ort ~actor.
4. The totai public do~3ars per county (see categories below} are
divided by the couRty's population, providing a caunty per capita
arts support. ~
5. The county per capita arts support is adjuste~ according to the
relationship between the California Mean Qer Capita Personal Income
and the county's per capifa personal incame.
6. The counties are ranked according to their adjusted per capita ar~s
support, and then pla~ed in a standard mean deviation scale.
Califo.rnia M~a~ Per Capita Personal lncome (1979?: $10,037
County Per Capita
Arts Support X $iQ,ld7 - Adjusted per
Coun~y Per Ca~ita Capita Arts
Personal lncome Suppor~
LPG ~ean = $5~a2~,40 ($286,404 = 57)
With ~he alliance of local governments and t~e arts at the heart of State/
Local, it is loca] p~blic dollars that are of the utmosti value for the ef~ort
_ factor. 7hus, there will be four categories of Effort dollars accEpted this
year, three of which are ~or direct dollar support of the arts from public monies.
1. County Doltars
2. Citiy bollars ~
3. Schoal lmprovemen~ Program ~unds-specifically dedicated tio the arts
4. Non-state dollars in the local Partiner's annual budget,
-10-
For categories one through th.ree, the Ar~s Council will anly accept ~hose
dollars that are directty and specifically earmarked for the arts. Their
listing musfi be accompanied 6y a verifying signature from the respo~sible
iocal authority, suc~ as the department head, the principai ar eounty
treasurer, or COP125 of off~cial budg~t sheets documenting expenditures
may be submitted. Forms will be pro~ided far consistency of reporring
{Appe~dix E}.
County and city expenditures for the arts must 6e clearly and spec.ifically
for t~e arts. 7hus, i~ a part of the county's.funding for a community
library is for arts services, and the librarian or caunty treasurer is willing
to sign a repoet so stating, then only that part af the iibrary's budget
is acceptable far the effort. If a county fair spansors an art exhibit,
then that part of the Fair budget for the exhibit is an acceptable part of
the effort factor.
School Improvement Funds allacated direct]y for the arts can be found through
eac~ school with a 5c~ool Impro~ement Program (S!P). For your convenience,
t~e Arts Council has a]ist of these sites, by county, that will be mad~
available to each Partner, in addition to other mater+als on SIP.
~he Schoo~ Impravement Program was cr~ated in 1977, through AB65. Its
infention is to develop pupils' competence to their highest poten~ial in:
a. Basic skili5, including proficiency in~mat~ematics an~ in the use
o~ the Eng~is~ language in reading, wri~in~, speaking and listening;
b. Knowledge and abitities 9n other aspects of the curriculum, including
the arts and humanities, the sciences, and areas o~ personal interest;
c. Personal develo~ment, i~ciuding seif-esteem, capability for independent
judgement, and personal and social respansibility; and
d. Social development, including ability ta work in groups and attain-
ment of multicU~tural cansciousness and citizenship skills.
To achieve~~hese goals, A665 cal~s upon elementary and secandary schoals to
}oin in a schooi site council involving parents, teach~rs and o~her school
personnel, administratars, pupils, and members af the community. The purpose
af this effort is to assess t~e effectiveness of the total. school program in
achieving pupil growth and then to p~an, implement, and evaluate activi~ies
geared to improving that achEevement and growth.
SfP, like the State/Local ParCnership Program, is based on the idea that those
most affected by decisions should play a part in making them. To do this,
each 51P school has a s~hool sitE council {SSC). The SSC is a representative
group at the school site. It.can set up s~hcommitte~s for specif9c areas af
the curri~uium (s~c~ as the arts). In addition, and ~his may he its most
important role, the school site council has authority ta 6~dget SIP funds at
the school site. It is local control o~er the educatio~al curriculum of the
local schoot.
The issue o~ whether schoo~ expenditures s~ould be used as part of the effort
formula has 6een considered at iength by the advisory panel, the s~aff and
the Council. The final decisian by the Council to use SiP expenditures
is based on the ~ollawing considerations:
1, The control of expenditures is local and discretionary;
2. The exp.enditures can be ~erified; an~
3. 7he amount of SIP money wh+ch can potentially be used for
~he arts is large.
Geti~ing 51P money to b~ ~sed far arts will not be an easy task because there
will not be new S!P funds or new SiP schools. As a result, you will have to
argue for arts expenditures (artist residenci~s, arts spECialists, arts workshops,
performances, etc.) instead of existing allocations for non ar~s needs. However,
we believe that the spirit af the effort factor is consistenfi with the mandates
of the Schoo] Impravement Programs and is a truer measure of a local Partner's
effort in at~racting school dollars far the arts than overall school expenditures.
The ~ourth category for the effor~ factor will be ~hat portion o~ ~he local
Partner's budget that is not state generated. The purpase of this category
is to allow for private dollars i~ support af the arts over which the ~ocal
Partner can have discretion; it is funds that exemplify local control.
CLARfF1CA~lON:
A5 the Part~ers gather their effort data and documentation, questiions wi~l
inevitably arise as to the al]owability of certain ite~s. As much as possible,
t~is should be a local d~CE510~. lf a]ocal off9cial is willing to vauch that
funds, direct dollars, are being used far the arts, t~e~ the Expenditure witl
be accepta6le. It must be from the most current date {i.e., FY 198~-1982)•
2. Governmentai A rovals
By March 31, ~9$3, ~hases f and I1 must be comp~eted to the satisfaction o~ the
tocal County Board of Supervisors, the State/Local Advisory Panel and the
California Arts Cauncil.
a. County Approva~
The County Board o~ Supervisors is an integra] part of this Partnership.
7o that end, the County Board must designate a par~icipating agency and
approve the plan (and its updates) on a yearly ~asis. ~or the t982-19$3
LPG, we will require the Board's direct a~tion on ~wo items:
:ti1, Appro~al of the submitted phase. (This must be in the ~orm of a
resalution and it must accompany the March 31, 1983 submittal}.
2. DesignaCion o~ a contractor for the LPG cantract. (See Block Grant,
- besignation, Page 7~.
b.
: 6. City Participation
At its July 27t~ meeting, the State/Locai Advisory Par~el reCOmmended, and
the Ar~s Cou~rcil subsequently ap~roved, a major Ghange in the city appraval
process. Resolutians of apprp~al ar~ no longer required of 501 af the
cities having 50% of the county`s po~ulation. However, it is still the
in~ent of the Arts Council that citiES be gi~en the apportunity to participate
in this local government/~rts planning program. 7o tha~ extent, and a~
least one month prior to obtaining a reso~ution of a~proval from the
County Baard of Supervisors, a11 incorporated cities within your cour~ty
m€~st be.sent a copy of whatever matierials you wil~ submit to the County
Board af Supervisors. The California Arts Council w~ll prepare a form .
to accompany the materiais sent to the cities (Appendix A).
_ 12 ..
~ 3. Review Process •
The Califarnia Arts Council awards LbCd~ Priorities Grants after plans
are reviewed by the fallowing three components: ~
a. Arts Gouncil's State/Local staff reviews the plans and ascertains
that all fihe required components are present. Staff, in addition,
prepares a financial summary ~or Che Advisory Panel of tF~e Partner's
p~ior funding ~from State/Local.
b. The plans are reviewed by the State/Locai Adv9sory Panel. Amang
~fi~e criteria for their review are:
~ 1. Communi~y representation within the ~ocal Partner
agency, and its planni•ng process.
2. Consistency in the relationship among the Plan's
neecis assessment, goals and objectives. .
3. Equitabiiity of, and accessibility to the locai
Partner's grant pracess and other programs.
c. The California Arts Councii, a'~ a public meet9ng, reviews the
recarnmendat ions of the Advi sary Panel ar~~ recommer~t(s f i nal
approval of all grants. .
NaTE: The 5tate/Local Advisory Panel is composed of eleven representatives
from aroun~d the Stiate o~ California. It is designed to refiect the ethnic,
geographic and culturai di~ersity af our paputation. Several mem6ers of
the Panel are themselves members of active Partner organixations, while
otf~ers represen~ the arts from a di~fferent ~onsti~uency, such as business,
local government and education.
~. Repor~s
For the 19$2-i9$3 ~iscal year, the Arts Council has instituted several new
reporting pracedures for the Partners i~ order to bring the State/Lo~al
Part~ership Program in line with all other California Arts Counc+l programs.
a. Block Grant Financial Report
Tl~ose Partners who ha~e completed only through Phase I ar Phase II
by March 31, ]9$~ €~ust complete th+s form. It must accompany your
Mar~h 31, 19$3 submittal. it is a~basic ac~ounting form tied directly
to your planning activities. For your' con~enience and for ~onsis~ency
in reporting, we have included thE form with these Guidelines {Appendix B). „
-~3-
~., Lo~al P1~..,_.rities G~ant and 61ock Grant R~:.~~rt
Those Partners wha have Completed through Phase III
must complete this form and retur~ it to the Arts
Council by March 31, ~983• 1~ ~s an accaunting form
tied dir~ct~y to bath yo~r planning and pragramming
acti~ities for the 19$1'~1982 fisca~ year. We have ~
i~cluded a fo~m for yaur con~enience. ~
c. Update Report
~"his form will only be required.of tihose Par~ners who
have successfully completed all three phases. lt will
req~ire an approval reso~ution from the board of
supervisors, and must be subm~tted by March 31, t983-
Though not required, this Update Report might a~so
serve as a useful self-evaluation form for thase
Partn~rs appraaching Phase III.
V.
STATE/LO'CAL PR01'OS~p T I ~AEL I NE - 19$2-1983
September, 1982 -
-`By January 31, 39$3 ~
%:By Fe~ruary 29, 1983 -
March 3t, 1983
Aprit, 1983
May, 1983.
JunE 1, 1983 -
August 31, 1983
September, 19$3
Block Grant
Plan update
Plan update
of Super~
F'la~ u~date
Counci]
Gontract mailed to Partners
mailed to cities
submitted to County Board
isors
submitted to Cai~fornia Arts
5/L~P Advisory Panel meets
- LPG contracts mai~ed to Partners
- 1g82-7g83 LPG contract dates
(Noke: Contract for three months only)
- Block Grant and ~.oca] Pr+orities Grant
contrac.ts mailed (Not~: LPG far 12 months)
•• .7hese dates are suggestions that should allow for adequa'te advance
scheduling of plan review and approval i~ order to meet the March 31
deadline.
_~~..
VI~. FREQU~NTLY A5KED~QUESTIONS
QUES~ION: Can StatelLocal funds be used to purcha5e or cons~ruct a
facility for performances?
qN$WER . N0: Cal~for~ia Arts Council funds may not be used to pur-
c~ase or construct a facility or any capital equipment.
T~is prohibi~tion would extend to autamobi.les, xerox machines,
off+ce furniture and printing presses.~ Partner's can, how-
ever, use Arts Council funds to rent equipme~t and space,
inciuding office space, a-xerox machine, a theater and a
typ~writer.
Q~~STiON: Ca~ a Partner re-grant State/Local to individual artists?
AN5WER YE5. If re-granting to individua~ ar~ists is part o~ a
Partner`s plan, and their re-granting methodology affords
eq~itable p~blic access ta those grants, ~hen it is most
. definateiy an acceptable expenditure of Arts Council dollars.
QU~STION: Can' a Partner use Block Grant funds to attend a workshop for
State/Loca~ ~artners in another county?
ANSWER YES. If attendance aC such a workshop would.~e 'in pursuit
of a Partner's pianning process, then Slack Grant funds
cauld be used. ~
QUESTIdN: Are Partner's bound to the 5~~ ~e9u7~~ions? (5fl~ req~.lations
prohibit discriminatio~ agains~ the disabled).
ANSWER . YES. As a recipiant of State funds fram an agency that also
receives federal ~unds, t~e local Part~ers are indeed bo~n~
by ~he 5~~ regulations. in ~act, they are a specific par~
of both the Block Grant and LPG contracts. ~
Q~~STIO~: Does the California A~ts Gouncil have model gran~ing guidelines
far a possible "grant review mechanism"?
Ai~SWER ~he.Arts Council tries to avoid the concept of "models" with
'the State%Local Partnership, recagnizing diversity as 'the strength
of State/Local. The sta~f daes have available, however, samples
of se~era~ other Partner's re-granting guidelines which we would ~
(and have already} willingly share with the Partnership.
15-
Further, the State/Local Advisory Pan~l has recently formed
a sub-co~mittee to examine same af the issues that ha~e
arisen regarding re-granting. If any Partner has a$pecific
question, please c~ntact ~he State/Local sta~f, who wil] in
turn see that it is ad~ressed by the Ad~isary Panel.
QUEST[ON: Why ~ust t~e arts Partner go before t~e County Board of
Super~isors every year.
.. ANSWER . The State/Local Partnership Program is found~d ori ~he local
political process. Eac~ year, the Caunty Board of 5upervisors
is invited to participate in this "Loca] Assistance" program.
if it c~ooses to beGOme a Partner, it can then chonse an
arts organization to represent it, and.to contract directly
with the State ~or the funds. This yearly approval and
designation pracess is to assure public participation and
involvement in the use of state dollars for loca] arts
planning and prngrams.
Q~ESTIDN: Dpes the Fa~ilities inventory ~ave to Gontai~ the measurements
of stages? Does it have to cantain church basements and
SChOOj auditariums?
A~SWER . The purpose of a Fac"ilities and Culturaj Resources inventary
is twofold:
a. A successful facilities inve~tory s~outd serve
as a resource for your constituents. A playright
may wan~ to taur the county with a new play, or a
school production might intend to tour other schools
in the outlying parts of your county: Both of those
~ situations present t~e Partner with an opportunity
ta serve the arts constituents within their region.
As for specific cantents af the inventory--that deW
pends an se~eral considerations. Perhaps your plan
has identified a sizeable disa6led papulation, and
has made serviGes to that community a goa- ofi the
plan. 7hen the question of public transportation,
50~ access and fees would be an im~arta~~ ~onsideratian
in a facilities inventory.
~utting school facilities within a facilities in-
ventory offers tihe opportunity for the Partn~r to
invo]~e the schools in tihe+r arts plan. Mos~
schools have some type o~ performance space, and
most counties ha~~ some kin d of per~armers wha
co~ld benefit from the use of that space.
_~~_
As for stage measurements--if you expe~t to have
professiona~ tauring theater or symphony in your
county, it might be ~enef9cia] to have those num°
bers at hand. Perhaps they wou~d not be necessary
for all stages, but that is af caurse up to the
Local Partner.
The exact contents of ~he facilities i~ventory,
~hen, is a local deGision. As a bare minimum,
the Arts Counci] would sugge$t: Name~af facility,
location, tiele~hone number, contact person, fee
structure, capacity, aGCessibi~ity, a~ai]able
equipment and any major restrictians. Other
communities have also included information re-
garding speCific lighting equipment, parking,
availability of public transportation, stage
dimensions and primary function.
b. The se~ond purpose for the facilities inve~tory
is to create a stra~g foundatian for Phase [I1.
It will be a much b~tter plan if it is based on
the resources of the community. Goals, objectives
and ~eeds Gan be deveioped around a Gommunity's
existing strengths and possessions, and concepts
of sharing become easier to de~elop once a Partner
knows what°s out there.
The contents of the three phases were specifically
c~osen so as to encourage the Partner to determine
the facilities and cultural resources of the com-
munity and to t~en use those findings in developing
a plan.
QUESTION: How can a Partner more effectively reach minarity co~stituencies
and other underserved papulations; how can we involve those
citixens in our planning process?
ANSW~~ . There is no simp3e answer to this question.. ~he first step is,
however, to identify ~hase sectors of your community that are
'u~derserved and have not been active participants in your
- planning pracess, and then committing yours~~~es to solving
the problem. ~ •
~ What other Partners have found successf~l, may be of va]ue ~o
y0U :
a. Designating su6-comm+ttees ar standing cammit~ees
ta address this question.
_1~_
b. Appoint a me~b~r of an identi~ied underser~ed
constitu~ncy to the board of the Local Partner's
organization.
c. Using key community leaders representative of
minority g~oups to p rovide continua~ informatian
an the needs of those groups.
d. O~fering survey questionnaires, interviews and news-
letters in o~her languages.
e. Meeting with special constii~uencies at a site
preferable to them. .
Please keep in mind t~at State/Locat is charged with reaching
underserved constituences. It ES up to the local Partner's
to identify those within their communities. Loak around and
see w~ich persons, groups or individuals have not been in-
valved with your o~ganization or with the arts in general.
Reach o~t and make the concerted effort.
QUE5710N: W~at kind of assistance can the California Arts Counci~ provide.
AN5~ER . A~l Arts Council staff inembers are a~aila6le to a~swer questians
about the Council's pragrams. In addition, there is a small
library o~ arts resource material which is open ta the public,
and which several Partners have found quite valuable.
5tate/Lacal staff are always available for speci~ic inquiries,
and Partners are welcom~ to visit the Arts Cauncii offices in
Sacramento. `
There will be more staf~ travel this year than last, and the
State/Local staff hopes to visit with many of the Partners.
It wou~d be helpful if Par~ners wauld inform the State/~ocal
staff of special meetiings or e~~nts, so that some sta~ewide
travel pla~ning can be done.
_. The State/Local newsletter, Partnerline, was designed as a
vehicle for the tradi~g of information between Partners, so
that the participants of this statewidE program ~ight ]earn
~ more about their counterparts. 1~ you have a stary idea,
please contact the State/Lacal staff.
_~g_
QUE5710N: Can a Partner undertake a project that is not outlined in the
Plan?
, AN5WER . lt wautd be unrealistic for the Arts Council to assume ~hati yau
could out~ine in detail every prajeG't.you intend to begin in
the fut~re,.or that yau would adhere tio that schedule urifailinqly,
evan when another caurse would be more advantageous. Yaur plan
is a document based upon a solid foundation of community input
~ and pubiic scrutir~y, which describes prajects that are ~~ ~
appropriate and best suited to achieving the goais of the Plan.
!f you decide to aperate projects anci programs that de~iatie
fram your stateci objectives.however, we would strongly.encourage
you to establish a structured, public procedure for assuring
continuing community participation and input regarding those
deviations. '
~~9_
APPENDTX A THF~.OIIGH E
ST ATEiL~C~~~
APPENDlX A: Sample ]etter to city council$ for update review
Dear Mayor (last name} and members o~ t~e City Council;
7he requirements o~ the Califtirnia Arts Council's State/Local Partnership
Program state that one copy of a11 documen~s prepared for the Program
must be se~t ta all incorporated c~ties within the participating
County, and that the County Board of Supervisors must approve the
Pla~ by resalution.
Attached is a copy of the curren~ P1an ~pda~e prepared in connection
with the 5tate/Local Partnership Program. We are providing this Gopy
to you ~or your review and camment. The ~lan will then be se~t to the
Board of Supervisors and tio the California Arts Cauncil for their
approval. ~
We would appreciate hearing from you within the next tihirty (30) days,
if you have any statements you wish to make about this document ar
the Part~ersh3p Program. YoUr comments wi~l be for~rarded to the
Board of Supervisors and to the California Arts Cou~cil.
Ef we do not receive any statements, we wilt assume that you apprave
of this update, and will continue with our Zocal a~pro~al process. We
~ook forward to working with you and your const+tuents in this
Partnership Program designed to strengthen loGal cultural planning and
decision. making and to reach previo~s~y underser~ed constituencies
through the arts.
Sin~erely,
Matio Kana~Ca
~xecutive Director
Lanai County Arts Council
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F,PP~ND(X ~~ , lJpdate r~port, post-Phase I~! 1~Partners
~nstr~ctions:
On July 28, 1982, the California Arts Co~ncil's State/.Lpca1 Advisory
~anei de5ignated yo~r locai arts plan as ha~ing satisfactorily campleted
t~e tl~re~ pi~ases of Ehe Sta~e/Loca] Partnership Prograrr~. In order to
botF~ determine the effeCtiveness of 5tate/Local throughout the state and
to help.defir~e the fut~re direction of Che Progrsm, the Arts Countil
requires informatio~ from those ?artners ~~ha ~ave.completed Phase lil.
This report, t~erefore, concerns the Partner's activities and proaress
fron March 37> S9$2 thraugh the present date, ~harch 3l, 1983. Please answer
~he folto~~ing questions as comp~etely and contisely as possi6le, using
tne space provided. •
N~J~E: ~his ilpdate farm is to be submitted to the California Arts Council
by Mar~h 3~, ]983, accompanied by a rssolution of approval from the
County Board af Superv~sors. . ~
_..._. r.... . ~.. . ...... .. . .. ~ - ~ -~ -.. _ __. .
viee,~ af -your oraanization's work, includi~g a general outline of activities,
a descriptlor~ of wha participated in these activities,,and a listing of tF~e
lo~ales~and dates where acti~ities oecurred.
number of. comm~nity needs and objectives. En the previous q~estio~,
you were asked to pr~vide an overview of your activ.ities. How did
those acti~it+es re3ate to your goa2s and obJecti~es? P]ease be specific.
(For example: "Lanai County ident'sfied artists-in-t~e-schoals as a
major goal. ~'his past ,~uly, ti•~e began a series of' schaol/parent/artist
meetings, w~icE~ cuiminated in a o.ra~ts program ~or artists-in-the-schaals.
As of September, fifteen artists were teaching +n fi~e schoals, with
rEquests pending from seventeen other schaols."J
3. The guidelines for the State/Local Partnership Program state
thaf the pragram was established by tne Arts Council and the Stat~
~egislature to "... enca~rage local cult~ral planning and decisian-
making and to reach pre~iously underser~ed constituencies."
a} Briefiy describe how the activities outtined i~ number one
furthered the state's goals to ". ..ancourage local
cultural pianning and decision-making. . ."
b) Briefly describe haw the activi~ies outlined in number one
further~d the state's goals to ". ..braad~n the base~and enhance
th~ responsiveness of Council programming. .."
c) Briefly describe ~aw the aeti~ities outlined in number one
furt~ered t~e state's gaals to ". ..to heighten opportunities
for artists a~d interested citizens to directly affect arts
policies and pract9ces."
4. How SGCCESSfU~ ha~e your activities b~en since you completed
Phase i 1 I?~ I.r~ ans4rering this question, please ~cove~r each of the fol lowing
topits: ' '
a) Which s~eci~i~ activities achieved their specific objectives,
and which did nat.
b) What criteria do you use to determine the success or
failure af S/LPP re]ated acti~ities? {i.e., Hovr cio you evaluate
these acti~vi ties?)
c) What benefi~s have ;-esulted from these activities?
d) What feedbacfc have yau recei~eci from artists, local governmental
officials, and other camm~nity members about your 5tate/Loca3
Partr~ers~ip Program.
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