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2013-008 EDC-Arts - Town of Carrboro Arts Committee Rec & Park Dept Fall 2012 Art Grant Agreement $1,500
CUP ORANGE COUNTY ARTS COMMISSION T A FALL,2012 GRANT AGREEMENT URANCM uriutiY RT$ fil I;Slum THIS AGREEMENT, entered into this 14th day of December, 2012, by and between Orange County ("County"), by and through the Orange County Arts Commission ("Arts Commission") and Town of Carrboro Art Committee("Grant Recipient"). WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of local arts experiences by providing funding and support for diverse high quality programs and projects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizations coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, an agency of the Department of Cultural Resources and the National Endowment for the Arts. WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the Spring Arts Grant through the procedures duly adopted by the Arts Commission; and WHEREAS, both parties wish to promote and maintain the integrity and clarity of the Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the County; NOW, THEREFORE, the County and the Grant Recipient, for the consideration and under the conditions hereinafter set forth, agree as follows: 1. Approved Grant Project. Grant funds are provided under this Agreement for the project ("Project") described in the Grant Recipient's Grant Application, attached hereto and incorporated herein as Exhibit A. 2. Grant Award. Grant funds in an amount not to exceed one thousand five hundred dollars ($1,500) have been awarded by the Arts Commission to the Grant Recipient for the approved Project. These funds must be matched at least dollar-for-dollar with cash from the Grant Recipient's funds not derived from either Orange County appropriations or the North Carolina Arts Council. 3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots Program funding to the Arts Commission. Final decisions on Grassroots Program funds to the North Carolina Arts Council are subject to approval by the North Carolina General Assembly. 4. Responsibilities of the Grant Recipient 1 Revised May 2012 A. Implementation. The Project implementation shall take place between January 1, 2013 and December 31, 2013. The Project shall be implemented in the manner described in Exhibit A. Time is of the essence in the implementation of the Project. B. Modifications to project. Grant Recipient shall present major changes to the original proposal, including but not limited to changes in design, implementation schedule and increase in Project budget by more than 10%, in writing to the Arts Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt thereof. Consent to project modifications shall not be unreasonably withheld. Arts Commission's decisions shall be in writing. In the event the Arts Commission fails to approve or disapprove the requested modifications within the time stated herein, the modifications shall be deemed approved. C. Non—assignment. The grant cannot be assigned or transferred to a different project or artist without prior written approval of the Arts Commission. D. Records. Grant Recipient must maintain records and other evidence pertaining to costs incurred and revenues acquired during the Project implementation. Grant Recipient shall maintain financial records pertaining to the Project for three (3) years from the date of this Agreement, in case of audit. E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding taxes or other debts of any nature. The grants shall be utilized solely for the purpose of implementing the Project and Project related expenses. F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report on January 14 , 2014 . The Final Report shall be in the format required by the North Carolina Arts Council. Failure to submit the Final Report or late submission of the Final Report, for any reason, shall be grounds for denial and/or cancellation of grant funds for the Project and future grant proposals. 5. Responsibilities of the Arts Commission A. Payment. The Arts Commission shall release the grant funds in the amount of $1,500 to the Grant Recipient. 6. Publicity A. Acknowled eg ment. Credit must be given to the Orange County Arts Commission using the Arts Commission logo and if State funds are received to the North Carolina Grassroots Program in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. When no printed information is used, verbal credit shall be given. In addition, all print and promotional material must include the following credit line (check all that apply): 2 Revised May 2012 the Orange,,County its © sSi . ii. North Carolina Arts Council Funding. "This program is supported by the Orange County Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, a state agency. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on the ExploreChapelHillARTS.com website and display ExploreChapelHiltARTS.com publicity materials (postcards, brochures, etc.) prominently and consistently at their venue or performance space. In addition, the Grant Recipient must add a link to the ExploreChapelHillARTS.com (ExploreChapelHiHARTS.com logo preferred) to their main webpage. The Grant Recipient shall contact the Orange County Arts Commission for replacement ExploreChapelHHURTS.com publicity materials. 7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the Arts Commission and the North Carolina Arts Council and their officers and employees from any and all claims or actual injury, damage or loss to a person, or real or personal property that results from or is in any way connected to the use of the grant funds. 8. Independent Contractor. The Grant Recipient is an independent contractor and not an employee, agent or other representative of the County and/or the Arts Commission. Nothing contained in this Agreement shall be construed to create the relationship of principal and agent, or employer and employee, between Grant Recipient and Arts Commission or Orange County Government. Grant Recipient understands and agrees that he/she is not authorized to incur any expenses or any liability whatsoever on behalf of the County or the Arts Commission and has no authority, expressed or implied, to obligate or make representations on behalf of the County or the Arts Commission. In addition, Grant Recipient agrees to maintain his or her own worker's compensation insurance for himself/herself and his or her employees for the duration of the art work's installation. 9. Termination A. In the event of any of the circumstances set forth below(hereinafter referred to as "default"),the Arts Commission may immediately terminate this Agreement: (i) Any fraudulent representation in any verification required to obtain payment under this Agreement or other dishonesty on a material matter relating to the performance of services under this Agreement. (ii) Nonperformance, incomplete service or performance, or failure to satisfactorily perform any part of the Project or to comply with any provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised May 2012 (iii) Failure to adhere to the terms of applicable county, state or federal laws, regulations, or stated public policy. B. In the event of default by the Grant Recipient, the Arts Commission has the discretion to elect to terminate this Agreement, in whole or in part and/or require the Grant Recipient to repay the grant funds within seven (7) from written notice of default or allow the grant recipient the opportunity to cure the default. This clause shall not be interpreted to limit the County's or the Arts Commission's remedies in law or in equity. 10. Miscellaneous. A. Entire Agreement. This Agreement and the attachments contain the final and entire understanding of the parties with respect to the subject matter of this Agreement. All modifications and amendments to this Agreement shall be in writing. This Agreement shall be binding upon the parties, their heirs, successors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the laws of the State of North Carolina and the Orange County. IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant Agreement, effective on the last date this Agreement is signed by both parties as indicated by the dates set forth under signatures below. For and Vonhay'of the Grant Recipient n of Carrboro Art Committee Date For and on behalf of Orap We County Government / Frank W. ClIfton, Cout Manager Date For and on behalf of Orange County Arts Commission/approved as to technical content -Lin4A� I Z !9 //Z- Steve Brantley,Economic De pment Director / Date/ Appro d as t orm and legal sufficiency Annett M. Mo re, Staff Attorney Dat 4 Revised May 2012 This instrument has been pre-audited in the manner required by the Local Government Budget and Fiscal Control Act Clarence G. Grier,Administrative and Financial Services Date 5 Revised May 2012 Arts Program Grant - Fa I I 2012- 13 Application Form ORANGE COUNTY ARTS Orange County Arts Commission COMMISSION Promoting the artistic and cultural development of Orange County, North, Carolina Evaluation Criteria Artistic merit of program. Populations served — impact for geographic &traditionally under-served populations. Feasibility of proposed activity & effectiveness in fulfilling applicant's mission. • Cooperation between organizations and artists. • Evidence of feasibility of program, community support, and responsiveness to community needs. • Emerging organizations are encouraged to apply. 1 Applicant Information Applicant Name Town of Carrboro Arts Committee Mailing Address 100 N. Greensboro Street , Carrboro, NC 27510 Daytime Phone 919-918-7367 Fax Number 919-918-4476 Email Address RTrost(d-)TownofCarrboro.org Web Site Project Director Art Menius Title Committee Co-Chair DUNS Number 17-125-4055 2 Project Director Information Project Director Home Address PO Box 1161; Carrboro, NC 27510 Daytime Phone 919-929-2787 Evening Phone 919-675-2787 Email Address director(cD-artscenterlive.org 3 Grant Request Summary Arts Program Grant Request 1,500 Total Cash Match 148,500 Total Organizational Budget 2011-2012 1,000.00 Past Year 2012-2013 1.0000.00 Current Year 2013-2014 1,000.00 Projected for Next Year Summary Statement for Proposed Uses of Arts Program Grant The Carrboro Board of Aldermen voted on November 13 2012 to allocate up to $40.000 as part of the 1.1 match for federal funds from the Our Town program. The Planning Committee will solicit additional cash and in-kind commitments during December 2012 from foundation,public, and private sources in order to raise $75,000 in match to fund a total $150,000, two-year project starting on September 1, 2013. The Committee requests $1,500 to be part of the cash match to create a Cultural Plan for the Town of Carrboro including planning for a Carrboro Cultural and Entertainment District. Questions? Call 9191968-2011. Delivery address: 501 West Franklin Street, Chapel Hill, NC 27516 Arts Program Application Narrative Town of Carrboro Arts Committee Organizational Profile The Town of Carrboro Arts Committee is a citizen group within the Parks and Recreation Department that works with Parks and Recreation staff for the town. Over the years the Carrboro Arts Committee has spawned such successful activities as the Carrboro Music Festival, West End Poetry Festival, and Carrboro Film Festival. Current Programs and Services The Town of Carrboro Arts Committee currently programs two public exhibition spaces—one in Town Hall and the other in the Century Center. The Committee vets public art proposals and passes them on to the appropriate bodies. During 2012,the Arts Committee has conducted a long range planning process than includes developing a vision for the future of the arts and the creative economy in Carrboro. Proposed Uses of Grant Funds Upon learning of the NEA's Our Town initiative, the Arts Committee recommended that the town move forward in partnership with The ArtsCenter as the lead non-profit. The Carrboro Board of Aldermen voted on November 13, 2012 to allocate up to $40,000 as part of the 1:1 match for federal funds from the Our Town program. The Planning Committee will solicit additional cash and in-kind commitments during December 2012 from foundation, public, and private sources in order to raise $75,000 in match to fund a total $150,000, two-year project starting on September 1, 2013. We shall be notified by NEA in late July 2013 as to whether Carrboro will receive this funding. To further solidify Carrboro's reputation as an arts city, stimulate the growth of its creative economy, and ensure access to the arts for all its citizens, the Town of Carrboro and The ArtsCenter propose to lead a partnership to develop a Cultural Arts and Entertainment Plan and establish a Cultural Arts and Entertainment District in response to the National Endowment For the Arts (NEA) Our Town initiative. These actions are consistent with the recommendations of previous Carrboro plans including the Local Living Economy Task Force Recommendations and the RTS study, Creating Carrboro's Economic Future. For the Our Town initiative,NEA defined the following: "In creative placemaking,partners from public, private, nonprofit, and community sectors strategically shape the physical and social character of a neighborhood,town,tribe, city, or region around arts and cultural activities. Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired." Through Our Town, subject to the availability of funding, the National Endowment for the Arts will provide a limited number of grants, ranging from $25,000 to $200,000 (determined by the amount of the 1:1 match), for creative placemaking projects that contribute toward the livability of communities and help transform them into lively, beautiful, and sustainable places with the arts at their core. Our Town will invest in creative and innovative projects in which communities, together with their arts and design organizations and artists, seek to: OCAC Application Narrative for Carrboro Arts Committee • Improve their quality of life. • Encourage greater creative activity. • Foster stronger community identity and a sense of place. • Revitalize economic development. Since the ArtsCenter began as a one room schoolhouse for the arts in 1974, Carrboro has transformed itself from cotton mill town of 5,100 into a densely populated small city of almost 20,000 with a vibrant arts community. It has been cited as one of the top arts towns in the USA. Its creative economy ranges from The ArtsCenter and its neighbor, acclaimed rock club Cat's Cradle to DSI Comedy Theatre to WCOM community radio to Kalisher, an international producer of commercial art founded by a noted photographer. The Carrboro Music Festival has become a regional destination event benefitting businesses throughout town. The Art Therapy Institute overlooks the lawn in front of Weaver Street Market, frequent site of outdoor concerts, three blocks from the Town Commons, where thousands recently enjoyed a Tift Merritt CD release concert. Although the town supports the arts and arts-based businesses and operates two year-round galleries and several arts festivals,this thriving arts economy and community have grown organically. Now the creative community and the town have the opportunity to plan its cultural center, identify its cultural vision, and connect our creative economy to the economic development of the town. A successful plan will provide for the arts infrastructure and education and training in the arts that will afford all citizens of Carrboro the facility to explore their creative impulses. It will include a focus and site for development of arts engagement and the creative economy. More than twenty years ago, then Carrboro Mayor (now State Senator) Ellie Kinnaird articulated an arts-based vision for the rebranding of Carrboro. Now that downtown Carrboro is experiencing its greatest change since the Carr Mill Mall and Weaver Street Market projects, NEA Our Town can enable the town to conduct a community-based planning process for its creative economy to be called Arts Carrboro 2020: A Community Vision. The process will begin with separate stakeholder and public meetings in December 2012 as part of developing the Our Town application due to NEA on January 14, 2013. The initial process will be guided by Planning Committee composed of Town and ArtsCenter professionals. Arts Carrboro 2020 will draw upon a path breaking array of resources that will create a new model for community cultural development. The new model will include: • An active partnership between a venerable arts non-profit and civic government • Effective collaboration among multiple town government agencies and committees involved in the arts, economic development, and parks and recreation and with a variety of non-profit and for profit businesses and organizations involved in the creative economy of Carrboro. • A professional design firm with a strong arts practice as an integral part of the team • A cutting edge economic and workforce development consultancy with a strong creative economy practice as an integral part of the team • Involvement of artists and teaching artists in various disciplines as integral parts of the team OCAC Application Narrative for Carrboro Arts Committee 2 1 [' az t; t • Direct connection of the cultural plan and cultural district to the economic development of the town • An iterative community input and reflection process employing facilitated community meetings, social media, surveys of audience members and businesses, existing town committees and commissions, and focus groups. • Intentional testing of assumptions in arts engagement in Carrboro before drafting final cultural plan Arts Carrboro 2020 could address: • Sustaining and growing the creative economy and arts-based businesses of the town • Stimulating more cultural businesses and jobs • Providing access to the arts and arts education for all citizens of Carrboro • Making it possible for artists to afford to live and work in Carrboro • Developing the role and administration of the arts within town government, including a local government arts development initiative • Creating a loan pool for arts-based businesses in Carrboro • Integrating the arts with local economic development • Fostering coordination and active collaboration among for profit,non-profit, and government support arts entities in Carrboro • Expanding opportunities for arts in education • Stimulating sustained community-based cultural planning • Promoting effective communication and collaboration among arts groups and events and with Town government • Enhancing collaboration with Chapel Hill, UNC, Orange County, and relevant State agencies. • Producing multimedia promotional materials for arts marketing of Carrboro • Stimulating arts engagement • Creative asset mapping • Fostering public art and gateway planning for Carrboro, and • Developing of the Carrboro Cultural and Entertainment District The Town, The ArtsCenter, and its partners propose to engage Carrboro based creative economy planners and researchers Regional Technology Strategies (RTS) and arts-focused Chapel Hill design firm Szostak Design(Durham Performing Arts Center, Utah Performing Arts Center, Walltown Recreation Center). The firms, and others as needed, will help the Town and The ArtsCenter to conduct community based visioning process leading to master planning activities that enhance and develop collaborations among cultural organizations, businesses, individual artists, schools, and facilities in and surrounding the District. Their work will advance the goals of ArtsCarrboro 2020. The first phase of Our Town work in Carrboro will involve research and development of both the initial draft of ArtsCarrboro 2020 and design for the Carrboro Cultural District. The second phase will include additional research and testing through pilot projects—focusing on intergroup collaborations—testing the arts engagement assumptions for Carrboro developed during the process. OCAC Application Narrative for Carrboro Arts Committee 3 111 a g Proposed Project Consultants Regional Technology Strategies,Inc. (RTS) builds and accelerates regional competitive advantage by encouraging higher value-added commerce performed by highly skilled people. A 501 (c) 3 non-profit corporation based in Carrboro,NC, RTS assists governments, foundations, and other organizations in creating, implementing, and evaluating innovative regional economic development strategies. In its work, RTS pays special attention to historically disadvantaged regions and populations. Since its foundation in 1991, RTS has been operating on the cutting edge of economic and workforce development. We are recognized as leaders in developing and promoting such strategies as inter-firm cooperation, industrial clusters,the role of community and technical colleges in workforce development, and the importance of science and technology policy. RTS works around the country and in other nations helping people and organizations understand how these types of strategies can improve a region's economic vitality. Szostak Design is an award winning architectural firm located in Chapel Hill,North Carolina. Led by principal Philip Szostak,the firm is well known for its unyielding commitment to design in a variety of project types including performing arts centers, recreational and fitness facilities, laboratories, and single family residences. In the preceding decade,the firm has garnered twelve state and regional AIA awards for design excellence. Szostak Design offers a full range of professional design services including strategic planning, feasibility studies, master planning, architectural design, and construction management. In addition,the firm has extensive experience with design/build and real estate development partnerships. A leader in sustainable design, Szostak Design has created an impressive portfolio of diverse projects which are noted for their environmental stewardship. Philip Szostak Associates was originally formed in 1980 in Chapel Hill and quickly grew into one of the most respected design firms in the Triangle. Key projects during this period include Rosemary Square in Chapel Hill,the Dorothy Bardolph Human Services Center for the City of Greensboro, the Domino's Pizza Regional Headquarters in Durham, and the Wake Forest University Track and Soccer Stadium in Winston-Salem. After 10 years, PSA merged with NBBJ,then the nation's second largest architectural firm. As a principal for NBBJ, Philip Szostak was responsible for leading design, planning and construction projects throughout the country. Key projects led by Philip include the 1994 World Cup Soccer Complex,the Georgia International Horse Park for the 1996 Olympic Games in Atlanta, East Carolina University's $60 million Science and Technology Building, WakeMed North's East Campus Ambulatory Medical Center in Raleigh, Duke University's Keck Life Science Research Center, and the Yoh Football Center at Duke. In 2001, Philip Szostak Associates was reestablished to provide comprehensive design services for notable regional projects including the Durham Performing Arts Center, a 2,800 seat theater; the State Capital Sports Center, an all-inclusive aquatics, ice hockey, and wellness center for Wake County; and Winmore, a new 200 unit village style neighborhood in Carrboro that promotes affordability and sustainability. In 2005, PSA incorporated as Szostak Design. 2012-13 Arts Program Application — Page Three ORANGE COUNTY ARTS COMMISSION Financial Information Please provide a projected budget for your proposed project utilizing the format below. Project Expenses Cash = Grant Amount + Applicant Expenses Requested Cash Match A Personnel Administrative staff _15,000_ 15,000 Artistic staff —4,500 _4,500 Technical/Production staff —4,500 _4,500 B Outside Fees and Services Artistic contracts —7,000 _7,000 Other contracts: _80,000 —80,000 C Space Rental D Travel _3,000 _3,000 E Marketing _15,000 _1,500 —13,500_ F Remaining Project Expenses _21,000 —21,000 G Total Cash Expenses 150,000 = 1,500_ + _148,500_ Project Income Cash Income A Admissions B Contracted Services Revenue C Other Revenue (specify) D Private Support Corporate support Foundation support _30,000_ Other private support —3,500 E Government Support Federal 75,000 State/regional (not including this request; Local (not including this request) _40,000_ F Applicant Cash G Grant Amount Requested 1,500_ in this application H Total Cash Income _150,000_ (must equal Total Cash Expenses, Item G above) 2012-13 Arts Program Application — Page Four Sig t res l � November 27 2012 Sig a ure of Project Director Date Art Menius Typed or Pr; a Name — Project Director Signature of Authorizing Official Date Typed or Printed Name —Authorizing Official INCOMPLETE APPLICATIONS WILL NOT BE FUNDED Glossary of Budget Terms Project Expenses A Personnel Payments for salaries, wages,fees and benefits specifically identified with the project for administrative, artistic and technical/production staff. Arthur C. Menius III EDUCATION MA, History, University of North Carolina-Chapel Hill BA, History, honors University of North Carolina-Chapel Hill SKILLS Microsoft Word, Microsoft Excel, Microsoft Access,Microsoft Powerpoint Desktop publishing and design Project Management Personnel Management Budget development and Management Conflict resolution Social media marketing ACADEMIC PUBLICATIONS: "James Bennitt, Portrait of an Antebellum Yeoman,"NC Historical Review(November 1981) Various articles in the Dictionary of North Carolina Biography, edited by William S. Powell(UNC Press) Various articles in the Encyclopedia of North Carolina History,edited by William S. Powell (UNC Press) [Editor] From This Valley: Wilkes Community College Remembered—The First Forty Years(WCC 2007) Five articles in New Grove Dictionary ofAmerican Music(Oxford Univ. Press,2012) HONORS: National Endowment for the Arts Folk&Traditional panelist, 2010 Kentucky Arts Council Panelist, 2009 &2010 Distinguished Achievement Award, International Bluegrass Music Association, 2008 Blue Ridge Music Hall of Fame inductee, 2008 Print Media Personality of the Year, !BMA, 1990 Phi Beta Kappa, North Carolina chapter, 1976 COMMUNITY& FIELD SERVICE: President, Whitesburg(KY) Rotary Club, 2009-2010 Volunteer programmer, WMMT-FM 2007—present Board of Directors, the Folk Alliance International, 1989-1990, 2007–present Board of Directors, Americana Music Association, 2006–2008 Board of Directors, IBMA, 1998-2004; Secretary 1985, 2002 President,The Folk Alliance, 1990 Board of Directors,The Old-Time Music Group, 1990-1999, President, 1991-1997 C. �� f�rt��KKD. =~. l����DDD0Ks �I� . 914-675-2787 art@artmenius.com hthp://admeoiu8.00no SUMMARY The most uucocnufbl /norkcbog` public ze\oLioou, and business development professional in acoustic music.Non-profit leader with extensive experience planning,marketing and managing successful concerts,festivals and events to support the udm. Adept u1creating strong brands through traditional and emerging media. Ability to attract financial support through governmental grants, corporate sponsors and private foundations. KEY ACCOMPLISHMENTS • Exceptional ucbicvcrneutu in marketing, advertising, and branding using traditional and emerging media. Took &8ez|cFcotfrnmn 5,000,000 media impressions annually upto25h.000,00O • Extensive business development and corporate relations experience, including more than $500,000 in sponsorships for McdeFcst2OQ7 ~ • Vast event planning and marketing experience: festivals with uo many ao25,000 people per single day, conferences for up to 2200 delegates, and concerts in venues from 150 to 1150 seats • Supervised as many as 28 employees and managed budgets as large as$2,100,000 • Worked io community economic and cultural tourism development efforts io North Carolina and Kentucky • More than dozen years io senior DOo-pr0fitarts administration &twenty-four years with non-profit organizations in the creative field • A track record nfsuccess in membership development, cVrnnuooioxtivas" and maintenance, annual campaigns, and individual donor development • Five years experience with mtute, federal,and private foundation granbecbing, and reporting • Built both lOM/\and Folk Alliance k)20OOmembers. PROFESSIONAL EXPERIENCE: The ArtmCwnter,Inc 2012 - Executive Director Common Ground om the Hill, Ltd. 2010--2011 Director ofDevelopment Appmlm&mp"Inc' 2007 -2010 Director Wilkes CnmmmmomitwCmllege/John A. Walker Civic Center 20V4-20U7 Events Marketing and Sponsorship Specialist and Marketing Director for MerleFest MwrleFemt 1997 -2004 � Associate Festival Coordinator/Sponsorship and National Marketing Coordinator � Arts Consultant,journalist, publicist,editor, emcee/stage manager 1993-prcoent North American Folk Mmaio & Dance Alliance,the Folk Alliance 1991-1996 Manager � International Bluegrass Music Association 0BMA\ 1985-1990 Executive Director Please see reverse side Julianne W.Tomkovick 2101 Genesis Rd., Chapel Hill, NC 27516 C: 919-280-2438 H:919-968-0551 julie.tomkovick@gmail.com Skill Set: Grant writing,prospecting,networking, follow-up, presentation, closing, client relationship/retention skills, and database management. Achievements: Raised$205,000 from new grant sources in first 12 months of returning to The ArtsCenter Doubled size of ArtsCenter Membership in first 12 months Managed Successful$600,000 Capital Campaign as previous Development Director Recent Work History: Development Coordinator for nonprofit arts center- The ArtsCenter, Carrboro, NC 2011 to present • Planned and executed annual fundraising of$200,0004300,000 based on grants and individual donor gifts • Presented Sponsorship opportunities to area businesses • Maintained contributor and attendee databases Client Development Mgr. for computer support company- WorkSmart,Durham, NC 2004-2009 Promoted from Sales Representative to Senior Account Manager to Sales Manager(Greensboro office) to Client Development Manager over 5 years 0 As Sales Representative and Senior Account Manager consistently exceeded quota * As Sales Manager opened the Triad office as a new market territory * As Client Development Manager performed client reviews with the top 20%of clients and dealt with all client satisfaction issues 0 Successful on-site presentations with C-level executives, IT dept. managers, and small business owners for new service needs, special projects, and client upgrade needs 0 Closed 2 of the largest clients($2000+/month recurring revenue) 0 4 Promotions in 5 years based on Service Plan Sales, Equipment Sales, and Client Retention Sales Rep, for Security System companies- VectorlLifeSafety GrouplADT Raleigh, NC 2001-2004 • Maintained status on top producers list 3 years running • Conducted successful sales with self-generated and company provided leads • Assessed needs and designed customized systems together with 300+homeowners Development Coordinator for nonprofit arts center- The ArtsCenter, Carrboro, NC 1990-2000 • Coordinated$600,000 Capital Campaign.1994-96 • Planned and executed annual fundraising of$200,0004300,000 based on grants and individual donor gifts • Worked with a conglomerate of Triangle art organizations to increase area arts awareness and audience • Maintained contributor and attendee databases Skilled in Microsoft Office programs 2000 through Windows 7 including: Word, Excel,Access, PowerPoint,Publisher Trustee for the North Carolina Federation of Business and Professional Women Education:Marquette University, Milwaukee, WI-BA, Psychology and Political.Science Rah Trost From: Catherine Wilson Sent: Tuesday, November 13, 2012 3:39 PM To: Rah Trost Subject: Thanks! Rah, I have updated the Arts Committee membership! ARTS COMMITTEE (meets the 2nd Monday of eachmonth at 6:00 p.m.) (go to Table of Contents) ,/31/2014 (VACANT) Laura Korch 502 N.Greensboro l�QZal<orchno-tervcCvgmail,col-n H 248- 21,181/2011 1/31/2014 St. Apt 2 Carrboro, 514-6912 NC 27510 (VACANT) 1/31/2014 Chris Beacham 259 Sweet Bay Place, cbeacham02O4,(@grnaii.com -H-260- 3/3/2009 1/31/2015 Carrboro 6297 2/21/12 \�1-933- (2 nI) 6699 Clara Jackson, 104R NC Hwy. 54 daaPdear-prodUctions..com H919-883- 2/21/12 1/31/2015 Chair West,#325 Carrborc, 4 754 NC 27510 Art Menius, The ArtsCenter, 300- dii-ectorec�a�,--Lscenterlive.coi-n W-929- ArtsCenter Vice Chair G E. Main St., 2787, Ext. Rep. Carrboro 217 1/31/2012 Eve Barkley 209 Rose Walk Lane evebar0--vPme.com 368-4517 10/16/12 (1) 1/31/2016 Hassan Me!ehy 106 Kay St,, Carrboro hmelehyCZ-bearthlink.net H-933- 2/9/2010 1/31/2013 6452 W-962- 1029 Collan Kneale 302 Sweet Bay Place, jn-VcoIlanLg-)h0tmail.co'rn H-240- 8/24/2010 1/31/2013 Carrboro 4142 or 828-284- 4-1729 (VACANT) 1/311/2015 Jacquelyn Gist 206-A Maple Ave., H-929- 12/1-3/2005 Board Liaisord Carrboro 6252 W-962- 6656 Thanks, Cathy Wilson, MPA Town Clerk Proposed Project Consultants Regional Tecbnology Strategies, Inc. (RTS)builds and accelerates regional competitive advantage by encouraging higher value-added commerce performed by highly skilled people. A 501 (c) 3 non-profit corporation based in Carrboro,NC, RTS assists governments, foundations, and other organizations in creating, implementing, and evaluating innovative regional economic development strategies. In its work, RTs pays special attention to historically disadvantaged regions and populations. Since its foundation in 1991, RTS has been operating on the cutting edge of economic and workforce development. We are recognized as leaders in developing and promoting such strategies as inter-firm cooperation, industrial clusters,the role of community and technical colleges in workforce development, and the importance of science and technology policy. RTS works around the country and in other nations helping people and organizations understand how these tvves of strategies can improve a region's economic vitality. Szostak Design is an award winning architectural firm located in Chapel Hill,North Carolina. Led by principal Philip Szostak,the firm is well known for its unyielding commitment to design in a variety of project types including performing arts centers, recreational and fitness facilities, laboratories,and single family residences. In the preceding decade,the firm has garnered twelve state and regional AIA awards for design excellence. Szostak Design offers a full range of professional design services including strategic planning, feasibility studies, master planning, architectural design,and construction management. In addition,the firm has extensive experience with design/build and real estate development partnerships. A leader in sustainable design, Szostak Design has created an impressive portfolio of diverse projects which are noted for their environmental stewardship. Philip Szostak Associates was originally formed in 1980 in Chapel Hill and quickly grew into one of the most respected design firms in the Triangle. Key projects during this period include Rosemary Square in Chapel Hill,the Dorothy Bardolph Human Services Center for the City of Greensboro,the Domino's Pizza Regional Headquarters in Durham,and the Wake Forest University Track and Soccer Stadium in Winston-Salem. After 10 years, PSA merged with NBBJ,then the nation's second largest architectural firm. As a principal for NBBJ, Philip Szostak was responsible for leading design, planning and construction projects throughout the country. Key projects led by Philip include the 1994 World Cup Soccer Complex,the Georgia International Horse Park for the 1996 Olympic Games in Atlanta, East Carolina University's$60 million Science and Technology Building, WakeMed North's East Campus Ambulatory Medical Center in Raleigh, Duke University's Keck Life Science Research Center, and the Yoh Football Center at Duke. In 2001, Philip Szostak Associates was reestablished to provide comprehensive design services for notable regional projects including the Durham Performing Arts Center, a 2,800 seat theater; the State Capital Sports Center, an all-inclusive aquatics, ice hockey, and wellness center for Wake County; and Winmore, a new 200 unit village style neighborhood in Carrboro that promotes affordability and sustainability. In 2005, PSA incorporated as Szostak Design. Work Samples from So1 ak Design b support oOCACapQa!! o from Town oCaEbm Arts Cow#cc . .�.. w . . . , . . ..gym., . . , . : d : \�[ m © / . �� \ \\ des Durham P/own Arts Center k * a a A h Wilmington WaterFront Master Plan Conference Notes: Growth from the Ground Up: Community Colleges and Sustainable Food Systems "I is r c e for September 29, 2011 `' ` As community colleges ponder future workforce development opportunities, they would do well to consider the old as well as the new. One part of the `old" economy that is beginning to be viewed in a new light is agriculture—but in its new form, which is diversified and sustainable food systems. Previously, agriculture largely has been viewed through the lens of large-scale commodity farming, harking back to former Secretary of Agriculture Earl Butz's admonition to farmers to "get big or get out." Agricultural education in public schools tended to remain in the comprehensive high school' even as other programs moved out into specialized regional vocational and later career centers. Students that wanted further education in agriculture aspired to attend land grant universities, not community colleges where programs were very scarce. Today agriculture is reframing itself within the larger economic context or cluster called "food systems." Changes in consumer demand for foods, food experiences, food security, healthier eating habits and lifestyles plus interests in new sources of energy are generating a new set of economic and career opportunities that require a different set of skills than those needed for producing conventional crops and animals for commodity markets. � a e i A a Stuart Rosenfeld, "Vocational Agriculture:A Model for Educational Reforms," Commentary, Education Week, September 26, 1984. 1 All of this is creating a resurgence of interest among young people and career changers in farming and food related fields. They understand the economics of growing and perhaps packaging and marketing, high-profit specialty and even artisanal items like Bok Choy, Russian red kale, Osaka purple mustard, soy milk, and hon-tsai-tai or raising llamas rather than producing acres of soybeans and selling to commodity markets. And they want the skills to make a living doing it. The number of community colleges with degree programs among the nation's 1,100 plus colleges is still short, however, and most are linked to agribusiness programs that can demonstrate career paths and employment demand. The official classification of instructional programs lists dozens of courses that cover all aspects of conventional agricultural operations but R ' has not yet caught up with the demand within agriculture of niche markets for organic products, herbs and herbicides, nutraceuticals, and biofuels. �i This symposium hosted by Central Carolina Community College in Pittsboro, North Carolina on September 29, 2011 and supported by grants from the Ford Foundation, Farm Foundation, Farm Credit ` Council, and Appalachian Regional - Commission, brought together some of the national leaders that are developing programs and services for this emerging and often clustered field of economic activity called "sustainable food systems." The Symposium RTS Principal and Founder Dr. Stuart Rosenfeld opened the conference highlighting the series of events that led from RTS work with alliances of community colleges to the formation of Alliance for Sustainability to its emerging and growing interest in programs that support and further the growth of sustainable food systems. He thanked the sponsoring organizations for their support: the Ford Foundation, Farm Foundation, Farm Credit Council, and Appalachian Regional Commission. Campus Provost Dr. Karen Allen officially welcomed participants to Pittsboro and the campus on behalf of the host Central Carolina Community College and briefly explained how and why the college became interested in sustainable food systems very early and became a national leader. She then introduced Dr. Nancy Creamer who provided an overview of sustainable food systems in North Carolina. Dr. Creamer directs the Center for Environmental Farming 2 Systems, which is a partnership that has been in place since 1994 among North Carolina State University, NC A&T State University, and the North Carolina Department of Agriculture and Life Sciences f Growing environmental concerns about the pork industry was the catalyst for North Carolina State University's interest in sustainable foods in 1994. It became evident the state needed a new way to produce pork that would protect the environment, and The Center formed a partnership with the Sierra ' Club and in 2004 was awarded a grant from the Kellogg Foundation for NC Choices to produce sustainable pork and find markets for it. The Center believed that producing food while protecting the environment would lead to more jobs and better health. They discovered that 70 percent of consumers want to know where their food comes from and would pay more for locally grown food. Under Nancy's leadership, the Center set out to develop a statewide action plan describing the food system, identifying individuals and organizations participating in and affected by the food system, highlighting efforts across the state, and identifying best practices. Further, it wanted to recommend actions and policies for the state, county, city, regional levels. The result after an extensive and inclusive process was the Farm to Fork Local Foods Initiative, which culminated with a sold-out statewide summit for more than 400 people. (hftp://www.cefs.ncsu.edu/resources/stateactionguide2010.pdf). One result was Session Law 2009-530, Senate Bill 1067, which established the 22 member NC Sustainable Local Food Policy Council to consider ways to increase consumption of local foods and its impact on local economies and health and to provide more information to small farmers. The Golden Leaf Foundation has invested $2.5 million in local foods initiatives and a campaign, in cooperation with extension, is underway in North Carolina to reach 10 percent of spending on food on local foods. One example of explosion of interest in foods business is that recent Carolina Meat Conference targeting local and niche meats held earlier in the month at Asheville- Buncombe Technical College in Asheville drew 200 participants. Next, Robin Kohanowich described CCCC's programs in sustainable food systems and how and why they have developed so far. It began in 1997 when the college hired Robin, a Clemson graduate in horticulture. At the time, Chatham County had the state's only extension agent focusing on sustainable food systems. The college started with a continuing education course to gauge the interest in a curriculum program. Community involvement was essential; and local farmers supplement staff. In 1999 CCCC received a grant to fund a full time position in sustainable food systems and began its credit programs. The college now offers a two-year certificate program with specialization in vegetables, livestock and sustainability, and it currently has 75 students enrolled. The 3 AA� program includes a formal internship program, which take place over the summer. The college has a 60 plus acre farm (which participants toured)with 4-5 acres cultivated. The college operates a CSA and employs a full-time farm manager. Dr. Jonathan Deutsch from Kingsborough Community College in New York City provided an urban slant on sustainable food systems. The college, which serves 30,000 students on the southern end of Brooklyn, operates a new half-acre farm that is driven by the needs and interests of its very strong culinary arts program. Jonathan recently co- authored a textbook of culinary programs titled Culinary Improvisation that treats culinary arts as a true art form. An urban site, the farming is all on raised beds of 100 percent compost. The food raised is sold to restaurants and the school's cafeteria, and at farmers markets at public housing sites. EATS is a program to create community owned and operated four- season farms and a food distribution system in urban neighborhoods. Although not likely to provide many full-time jobs, it can supplement low incomes, provide better foods and improved health, and create community. Basis is a farm-to-chef program that feeds into the college's goal of producing chefs who understand sustainability as common practice, not a trend or add-on to other skills. It connects regional small and mid-size farmers with wholesale customers seeking traditional and traceable foods. The college also operates an incubator in its teaching kitchen that can be used off hours that produces not only foods but also skin care products made from foods. Entrepreneurial students converted an old diesel boat (Kingsborough has strong marine technology programs) to run on recycled cooking oil from the college cafeteria (hfti2://www.youtube.com-/watch?v=dUlTil5qbdi). Kingsborough has plans to offer a certificate in Sustainable Foodservice and Certification in Urban Farming. Pi Mike Ryan, campus farm manager at .H. Johnson County Community College in , Kansas described the school's Center for Sustainability and campus farm. The college's program began on a farm at s Kansas State University though a grant funded partnership with the university in 2007 but moved to the Horticultural Sciences Building on the JCCC campus in 2010 and turned 2.5 acres into a 4 chemical-free (but not organically certified) vegetable farm. The three-semester, 112 hour/semester certificate program in Sustainable Agricultural Entrepreneurship emphasizes local marketing and manual farming techniques—although they have an old Ford tractor and new John Deere Gator utility vehicle. The farm currently produces 30 crops and 80 varieties. Its markets include the college's dining services, culinary programs, and Rolling Prairie Farmers Alliance CSA. Food waste is collected, composted in six rotating compost bins producing a ton of compost each week, and applied to the fields. The programs are supported in part through a "Green Fee" of$1 per credit hour per semester self-imposed by the student senate in 2009, which generates about$400,000 each fiscal year. Kathlyn Terry is Director of Appalachian Sustainable Development (ASD), a non-profit organization dedicated to creating sustainable, local economies in the Appalachian region since 1995. The organization owns two asset-based social enterprises, a wood products enterprise and a wholesale local food business. Ms. Terry described differences between a supply chain and food value chain, which includes direct markets such as farmers markets, restaurants, and small local retailers. It also includes wholesale markets such as Appalachian Harvest. Appalachian Harvest is a network of certified organic family farmers in Southwest Virginia and East Tennessee that provides local produce to regional food markets. Appalachian Sustainable Development provides farmers with on-farm training, technical assistance, and marketing support through direct marketing opportunities such as farmers markets, restaurants, CSAs, a Local Food Guide, and collective marketing opportunities such as the Appalachian Farm to Family Cooperative. ASD also offers farmers the use of their 15,000 square foot Packing and Grading Facility for processing, labeling, and packing produce. Appalachian Harvest serves 900 store outlets, 200 Ingles Markets and Whole Foods and currently has three times the demand for local organic produce than its supply. Thus, recruiting and training new farmers is necessary to maintain a local food system. Product selection, aggregation, infrastructure, and marketing also play important roles in the food value chain and progress has been made in the marketing and distribution side of the chain. Healthy Families Healthy Farms, an ASD project, uses funds raised from local churches and civic groups to purchase discounted organic produce from Appalachian Harvest. The produce is distributed by Feeding America in Southwest Virginia and Northeast Tennessee, formerly Second Harvest Food Bank. This program has provided organic produce to hungry families and supported family farms since 2004. Lynn Coale, Superintendent of the Patricia A. Hannaford Regional Technical School District and Career Center in Middlebury,Vermont, described how a secondary school meets the needs of the small and mid-sized farmers. Because it is part of the K-12 system, the program has to meet different federal and state educational requirements, one of which is emphasizing STEM skills, and the center runs summer institutes to develop math and science partnerships between academic and career/technical programs. The school is in a region with a strong small farm culture and cluster, which 5 he described graphically. Vermont has a strategic Farm to Plate plan that includes greater exposure of K-12 students to careers in food systems and more post-secondary opportunities. The Career Center also has partnerships with various state colleges and universities and University of Vermont Extension. Lynn described one successful program in detail called Chick to Plate, a partnership between an elementary school, extension, and 4-H to hatch eggs that are later raised to maturity and processed that has been going on for more than 20 years. The high school students would develop mentorships with the elementary school students and the farmers that raise the chickens. The Center's construction students designed and built three hoop houses and it now broods about 300 chickens on one acre. The Center's agribusiness class is responsible for marketing and sales. Noah Ranells,Agriculture Economic Development Coordinator of Orange County, North Carolina has been leading efforts to recruit farm-related enterprises. One such effort is the Piedmont Food &Agricultural Processing Center (PFAP) in Hillsborough, NC, a new regional food business incubator serving a 75-mile radius that covers 22 counties and 15,378 farms. The Center has a large selection of food processing equipment and once underway will offer training, consultation, and product development services. The Center was conceived as a response to trends in support of local food system development that includes the transition from tobacco crops, growing interest in Buy Local programs and eating seasonal varieties, and Farm to �t z Fork programs. Major drivers for these tee` trends are increased desire for food : . security, improved health, to protect �u rural heritage and slow urban sprawl, green seniors, new regional food systems, and a weak job market causing people to look at new lifestyles An initial feasibility study in Alamance, Chatham, Orange, and Durham counties showed a strong demand for the incubator and a projected annual " revenue of$156,200. Financial support for PFAP is provided by NC Agricultural Development& Farmland Preservation Trust, Golden Leaf Foundation, Tobacco Trust Fund, HUD, Rural Advancement Fund International-USA, NC Energy Office/ARRA-Transportation, and NC Department of Agriculture & Consumer Services, and Specialty Crops. http:// www.co.orange.nc.us/farms/PFAP/. 6 Devona Sherwood, Program Officer at the Wallace Center at Winrock International described the Center's programs in food systems. A national leader in sustainable and equitable food systems, the Center supports several programs that strengthen the food value chain including GAP-certification food safety courses at Grand Rapids Community College and Appalachian Sustainable Development. FamilyFarmed.org offers a web- based food safety plan creation tool. The Healthy Urban Food Enterprise Development (HUFED) Center was developed in order to address food access issues. Funded by the USDA's National Institute of Food and Agriculture, the Center provides technical and financial assistance to projects that help increase access of healthy foods, including local agriculture. Its Community Food Enterprise supports locally owned food businesses by profiling and researching the impacts of 24 successful food enterprises from the Americas,Africa.Asia and Eastern Europe. Supporting aggregation, distribution, and processing, Wallace developed the National Food Hub Collaboration to study and support food hubs. The organization also works with distributors, including Sysco in Grand Rapids and two other regional companies to add local foods to products distributed. They partner with Local Orbit to produce traceability software to enable low-cost management. Wallace Center is creating a Value Chains handbook to further this work. The HUFED program and Community Food Enterprise program support the retail side of the chain and Wallace Center worked on seven case studies of farmers markets to model the benefits and success of direct sales models. The National Good Food Network of Wallace Center researches innovative food chain models, including Good Natured Family Farms partnership with Balls Food Stores and a pilot project with Sysco Corporation. Wallace Center project, Value Chain and Enterprise Capacity Building, with aid from the W.K. Kellogg Foundation, offers technical assistance to food system organizations and enterprises. The Beginning Farmer and Rancher Educational Enhancement Project with USDA takes on the train the trainer role and adds an enterprise development component to their projects in addition to supporting peer learning. The National Good Food Network is developing a Regional Food Hub Resource Guide and offers technical assistance through its webinar series and provides on online resource library. Challenges and training needs include food safety training, sustainable agriculture practices, business and marketing skills, lack of infrastructure (aggregation points, cooling, packing and freezing spaces, and communications), limitations of transportation and distribution, timely market information, finance capital and access to government programs, and limited access to technology. What can community colleges do to meet the growing potential of and opportunities in diversified and sustainable food systems clusters? First, community colleges need to recognize the full economic potential of growing high value-added specialty foods on small farms and its entrepreneurial structure to make sure the career paths reflect reality. This means informing students about the multiple 8 types of entrepreneurial and employment possibilities associated with smaller scale food systems. Second, colleges can expand the scope of programs to diversified and sustainable food systems, not just agriculture, so that students are prepared to think about business opportunities more creatively. This might include sustainable energy, culinary arts, food processing, branding, and, for sure, entrepreneurship. As Mike Ryan from Johnson County Community College's Sustainable Agriculture Entrepreneurship Program said, "seldom do we have two students with similar professional aspirations." Third, colleges ought to take advantage of the many organizations that have been working with agriculture and food systems for resources, curricula, instructors, and as partners. These include cooperative extension and the land grant universities, traditional agricultural organizations that support sustainability and new farmers such as the Farm Credit Council, and the many non-profits such as Appalachian Sustainable Development. Fourth, colleges Gould provide technical and business assistance by filling gaps in existing services from cooperative extension or other sources. This could be in the form of a shared food processing center, CSA, incubators, or business finance. Fifth, since the programs attract a wide range of students seeking skills, with many already holding degrees, colleges will have to find a way to measure success in ways apart from traditional program completion and further education. Finally, if the demand alone is not persuasive, agricultural education has proven to be one the most easily transferrable and universally recognized forms of education. According to a former Director of the American Vocational Association who previously directed Human Resources for Sears "we'd hire anyone who was wearing an FFA jacket." Following are some ideas put forth by symposium participants in breakout sessions. Growing/Raising Foods Facilitated by Tom Sewell, Walters State Community College • Too little land for youth going into farming to purchase and they can't get loans. The cost of purchasing equipment and supplies is prohibitive which means they won't make a profit for years. Too few people interested in farming. • It can take time to acquire organic certification because of toxicity in soil. • Subsidies necessary to make a profit on small acreage but next farm bill will eliminate subsidies. • Political influence of big crop producing states hurts smaller farms. • Buyers requiring expensive software to track production process from ground to shelf. 9 • Getting beef certified organic requires organic grain which is very expensive. • Disconnect between growing produce and cooking/canning it. • Inspection & certification add cost to producing the crop. • Using "locally grown" sticker will increase sales. • Must establish market before growing so that you know what will sell. • Insistence on natural fertilizers is not good in all instances. Some insecticides are safer than natural fertilizers. Moving along the value chain: Food innovation centers and markets Facilitated by Michael DiRamio, Corporation for a Skilled Workforce • The value chain is the food system infrastructure that includes all segments from producing through processing, distribution and wholesaling, food service, and retail. Some of these elements may be combined at food hubs, community kitchens, and mobile processing units. • Community colleges are particularly well placed for training for this infrastructure because new farmers seem more interested in it (the whole food chain)than longer-time practitioners. Good for colleges to make students aware of the risks and opportunities of food-related microenterprise. • Some colleges, like Northern Michigan State College around alternative energy, have established innovation funds to support new entrepreneurial endeavors that spin out of the college and its faculty and students. There was some interest in this idea as might relate to the idea of food innovation centers. • Workforce coordinators in extension trying to bring awareness to farmers as to what value-added processing could mean for them, can refer them to the training available in local college. • Colleges can use peer-to-peer learning, shown to be a good educational vehicle for entrepreneurs/farmers. • Colleges might devise system of response to farmers regarding market design, maybe working cooperatively with extension. • Need perspectives on building blocks (what's needed in creation of the business) as well as business plan (where headed and what we expect) with flexibility to adjust to shifting economic environment • Recognize that entrepreneur must fit into a system. A food hub must have at least three parts: wholesaler, distributor, and kitchen. • Curriculum is needed for food preservation courses. Must advocate for it first to create market. Such training would make use of food incubator more efficient reducing hourly rental costs. • Need access to credit of different types. Shorebank Pacific's most successful loans were small and food-related ($4-$5K). Need assistance to go through process, but assistance should not push entrepreneur further than ready to go • Innovation fund can invest and train • Wallace funds community food enterprises, mostly urban, but some rural, sometimes via re-granting. Leopold Center has good model of grants for food enterprises that include meeting with each other (social capital) • Need way to offset the rental cost ($25/hour) of food innovation centers 10 • Must make sure there's market for effort, e.g., the Sysco effort depends on the region and who is coordinating. Nonprofits build the supply infrastructure and Sysco uses it. Linking Food Production to Culinary Arts Facilitated by Marcia Kingslow • Difficult to get produce to urban areas, connect with enough customers, work with aggregators, reach right market. It can be complicated if not close to a population center. • Seasonal menus enable greater use of local foods. • National networks of culinary instructors exist at Foodservice Educators Learning Community (FELC) hitp://www.fooded.oW and American Culinary Federation http://www.acfchefs.ora/ • Recommendations include make programs less in siloes, connect people, and encourage dialog on an ongoing basis. • Connecting agriculture, culinary arts, and health science educators is beneficial. Difficult to get people in those fields to connect and think differently, to change minds of those entrenched in current ways of doing things. • Efforts to get a culinary program in the health department since restaurant jobs were not appealing to students. Students preferred culinary jobs in hospitals, nursing homes, and union jobs, for example. Culinary arts should be connected sustainable agriculture program; they enhance each other's program. • Some colleges unable to convince culinary arts to use school's garden. Culinary arts students need better information and education about agriculture. • Should culinary arts adapt its curriculum towards sustainable agriculture or sustainable agriculture towards culinary arts' curriculum? Both. • One college is trying to grow vegetables not readily available in community, finding and providing different foods than are available in the grocery store. • Community colleges can contact the existing agriculture infrastructure (e.g., Farm Credit Council, Farm Bureau)to make sure they know of existing programs and farmers creating crops that culinary programs want. • Some difficulty getting farmers,to sell to colleges because of wait for checks to process, shipping expenses, etc. • Need new programs in culinary arts department that focus on agriculture. Culinary does have some programs on healing properties of herbs and more than just how to make food. Kingsborough Community College is producing ready-to-cook meals, adding value from a financial perspective, also a great learning tool for students. • Central Carolina Community College's business department teaches to biofuels, agriculture, and culinary students. All students take the business program. • Growing interest in urban agriculture although most programs are not designed for urban settings. Kingsborough Community College attract students nationally and could find a market for urban agriculture but not locally. • Sustainable agriculture programs not only focus on selling/providing local fresh foods but also producing and selling value-added staples such as molasses. • Instructors must understand what's in it for them when collaborating with other programs so they can focus on what's mutually beneficial. • Benefits to cooperation, working together on branding, and entrepreneurship between programs. Symposium Participants *Allen, Karen, Central Carolina Community College, NC Cain, Corinne, RTS, NC Clark, Craig,Alfred State College, NY Coale, Katherine, Patricia A. Hannaford Career Center, VT * Coale, D. Lynn, Patricia A. Hannaford Career Center, VT Corley, Barry, Mississippi Delta Community College, MS • Creamer, Nancy, NC State University, NC • Curry, Pam, Center for Economic Options, WV Dantoin, Valerie, Northeast Wisconsin Technical College, WI *Deutsch, Jonathan, Kingsborough Community College, NY DiRamio, Michael, Corporation for a Skilled Workforce, MI Donnan, Robert, Consultant, NC Drey, Kelly Jo, Bridgemont CTC, WV Early, Rita, Mayland Community College, NC Evans, Gene, West Virginia Northern Community College, WV Evans, Kim, West Virginia Northern Community College, WV Hamm, Greg, Central Carolina Community College, NC Henry, Harold,Ashland Community & Technical College, KY Kimble, Todd, Holmes Community College, MS * Kingslow, Marcia, Kingslow Associates, MD Kleese, Tony, Earthwise Company LLC, NC * Kohanowich, Robin, Central Carolina Community College, NC Lauffer, Laura, Central Carolina Community College, NC Lowry, Leslie, BioNetwork Bio Ag Center, NC Magner, Tres, NC Cooperative Extension, NC * Matteson, Gary, Farm Credit Council, DC McAdams, Tim,Ashland Community & Technical College, KY * Meter, Ken, Minneapolis, MN Mitchum, Robert L.,Arkansas State University - Beebe,AR * Odell, Kerry S., Potomac State College, WV Ortosky, Michael, Earthwise Company, NC Proffitt, John, Cleveland State Community College, TN * Ranells, Noah, Piedmont Food &Agriculture Processing Center, NC Raivio, Risto, European Union, Belgium Robbins, Steele, Mississippi Delta Community College, MS * Rosenfeld, Stuart, RTS, NC Russell, George, York Technical College, Rock Hill, SC * Ryan, Mike, Johnson County Community College, KS Sendor, Julia, WV Food & Farm Coalition, WV 12 * Sewell, Tom, Waiters State Community College, TN Silvers, Liz, Mayland Community College, NC Sites, Jerry,Arkansas State University - Beebe,AR • Sherwood, Devona, Winrock International, Washington, DC • Swanson, Linda, LLS Research/Consulting, NC •Terry, Kathlyn,Appalachian Sustainable Development, VA Tracy, Rhonda, Dr., West Virginia University at Parkersburg, WV * Troxler, Steve, North Carolina Agriculture Commissioner, NC Williams, Beth, RTS, NC Wood, Nancy Lee, Bristol Community College, MA * Speaker or Moderator Farill FOUnddtioll FARM CREDIT rARMCREDIT.COM UkDATION A APPALACHIAN REGIONAL COMMISSION 13