Alliance Discusses Zoning Initiatives
By Kevin J. Wong
On July 10th, the Alliance of New York State Arts Organizations
held a town meeting with arts leaders and politicians at the Queens
Theatre in Flushing Meadows/Corona Park. For over 28 years, the
Alliance of New York State Arts Organizations has aided community
cultural organizations with various resources and tools. They also
mobilize national and local arts agencies to develop both community
support and public policy for issues affecting the arts.
Judith Kaufman Weiner, Executive Director of the Alliance of New
York State Arts Organizations, and Senator Serphin Maltese discussed
the New York State Culture Zone Project at the town meeting, which
was co-sponsored by Senator Maltese and Assemblyman Joseph Morelle.
With the project still in its planning stages, the Alliance initiated
this meeting to inform its members of the project's goals. Those
organizing the project desired to gain constructive feedback following
their presentation, which would help them amend or tailor the project
to suit a variety of artists' and communities' needs. A wide range
of people attended the town meeting, and areas as diverse as Syracuse
and New York City were both able to express their differing views
Jeffrey Rosenstock, Executive Director of Queens Theatre in the
Park, opened the town meeting by welcoming Senator Maltese and stating
his pleasure that the Queens Theatre was the location of the Alliance's
town meeting. He then introduced Judith Kaufman Weiner to the stage.
After acknowledging Richard Schwartz, chairman of the New York State
Council on the Arts, Ms. Weiner related, in broad strokes, the goals
of the culture zone initiative. Stating that a large portion of
the original draft had recently been invalidated, such as gaining
funds from gambling, Ms. Weiner briefly explained the reasons for
creating the initiative and then described the project's goals.
The idea for a zone project came out of think tanks that the Alliance
held in February 2001 and February 2002. At these meetings, they
decided that in order to get resources for the arts in New York
State, the arts would have to "take control of its own destiny."
The Alliance then published a research report entitled Challenges
and Opportunity: A Post 9/11 Assessment of the New York State Arts
Community, and the Alliance created the idea for Culture Zones out
of this report
For the idea of Culture Zones to succeed, those spearheading the
project decided on two fundamental things. Firstly, those creating
economic development would have to do it without depleting or re-allocating
existing resources. With a flailing economy and the government putting
a minimal amount of money into the arts to begin with, the state
could not afford to indulge exorbitant expenses. Secondly, the project
would need the support of the individual artists and theater companies
in New York State communities, and it would rely on the "leading
capacity of individual organizations."
A Cultural Zone Council would lead the Culture Zone Project, and
the Governor of New York would sign off on appointed members. The
Alliance based the Cultural Zone Project on a model conceived by
the New York State Development Zone, and it calls for one cultural
zone per county in New York State. By creating these zones in areas
where arts are nonexistent or in areas where the arts are struggling,
the Culture Zone Project aims to attract artists to the zoned areas,
provide "equitable" access for tourists, theatergoers
and those not familiar with the arts and also encourage citizens
within the zoned areas to get involved in the arts community. By
doing so, the Alliance hopes that self-sustaining, "permanent"
art districts will eventually develop in New York State.
The project includes many benefits for both arts organizations
and citizens within the zone. For instance, tax incentives would
be given to landlords in the zones that provide low-market rates
to nonprofit arts organizations, cultural groups and artists. The
state government would also give tax incentives to developers in
the area that set aside spaces for the arts and tax credits to individuals
or businesses that make contributions to arts projects in the zone.
Aside from gaining visibility in the arts industry as a "community
and economic development stimulator," an arts organization
would gain assistance by funded and fundable job development programs.
Small arts-related, for-profit businesses would be privy to low
interest or no interest loans. Lastly, arts organizations that possess
"performing and exhibition facilities" would have reduced
electric and other energy costs.
Ms. Kaufman finished her presentation of the Culture Zones Project
by pointing out the strong backing that the project has in the state
legislature, noting especially that it has gotten strong bi-partisan
support. She discussed the long -term goals of the project, and
aside from currently "stimulating local communities and building
capacity for the arts," she sees it as a "permanent fix"
for arts revenue and jobs. She proclaimed the zoning project to
be a wide-scoped program that the Alliance is building for the "not
for and for profit sector[s]" respectively, and then asked
for questions and recommendations from the audience members.
Out of the many questions that were asked of Ms. Weiner and Senator
Maltese during the question/answer session, three major issues pushed
themselves to the forefront of discussion. The first major issue
concerned how the state would fund the project if not through gambling.
Senator Maltese affirmed that those issues are working themselves
out, and based on past experience, he believes the project will
get funding from the New York State legislature. He claimed that
funding mechanisms are in their "formative phases," and
they would hopefully have a "bottom line" by this coming
January.
To help this funding legislation pass, Senator Maltese urged people
to spread the word that the project exists. Senator Maltese pushed
the Alliance's good reputation, and he pointed out their foresight
that the tragedies on September 11 would accelerate the economic
problems present among artists. He claimed that the best way to
get the Culture Zones Project funded and supported by the legislature
is to popularize their cause and make people "aware" that
the legislation exists to begin with.
The second major issue is the cultural education that will be required
for some of the communities where these zones will be located. Amy
Brockway, who works in theater in rural upstate New York, stated
that the community she works in is just starting to realize the
profits to be gained from an arts community. She feels, like many
others, that a state sanctioned culture zone could cause resentment
and suspicion. To this, Ms. Weiner emphasized the need to educate
these people about the cultural zones. Ms. Weiner stated that an
"informed public is business," and by encouraging other
businesses to collaborate with the arts, they could have a symbiotic,
profitable relationship with artistic newcomers.
Amy Chin, Executive Director for the New York Chinese Cultural
Center, suggested creating incentives, or "brownie points,"
for the "culturally imperiled economic poor." She believes
this would help get them involved in the project, and she iterated
the importance of giving certain ailing areas of New York State
priority over others.
Other suggestions emphasized the need to create incentives for
and educate artists themselves. The artistic director of Mudbone,
a theater company in Harlem, stated his skepticism for the Culture
Zones Project. He related a personal account about a grassroots
marketplace in Harlem that was thriving until major corporate chains
forced shopkeepers out of their "development zone." He
then compared this to what might happen if state government "cultural
zones" moved into communities where independent artists worked.
However, Senator Maltese attempted to quell such fears. He guaranteed
that these Cultural Zones would be sensitive to the needs of individual
artists in the community, and he reemphasized the need of education
for those who do not know about or are suspicious of the program.
The third major issue was how many cultural zones would be created
per area. Although the original zoning plan called for one culture
zone per county, many people at the meeting dismissed this as impractical.
They pointed out that New York City's arts community is very diverse,
and one cultural zone would not be a sufficient representative.
A man from Westchester had a similar complaint, and he said that
the artistic scope of the Westchester area could not be represented
by a single cultural zone. Paul Nagle, the Arts Liaison for City
Councilman Alan Gerson, suggested using other measures of determining
the number and distribution of cultural zones, such as population
or assembly districts. In response to statements such as these,
Senator Maltese admitted the inflexibility of the current measure.
He stated that this part of the project could be amended, and lawmakers
could explore basing the number of cultural zones in a given area
on population.
Some questioned the effectiveness of the project itself. Amongst
these was Steve Zeitlin, Executive Director of City Lore (a nonprofit
organization dedicated to preserving New York City history). He
felt that the zoning project's inclusivity was not wide enough,
and that the state should not exclude certain locations, such as
dance clubs, from being cultural institutions.
Another person who questioned the project's scope was Jonathan
Slaff, Chairman for Downtown NYC! (a nonprofit organization dedicated
to aiding Lower Manhattan since 9/11). Mr. Slaff, while acknowledging
that this project would be a terrific initiative in undeveloped
artistic areas or lowly populated regions, questioned the effectiveness
of this project in areas such as the West Village in Lower Manhattan.
As a longtime resident of the area, Mr. Slaff viewed the 15% decline
of theater seats in the area since 1997 to be the result of additional
residential development there. Mr. Slaff sees artists as being forced
out of some districts, and he feels there is nothing within the
current zoning project to assist urban artists with problems such
as these.
Theodore S. Berger, Director of the New York Foundation for the
Arts, voiced concern for individual artists, and he felt that if
the current legislation was to go forwards, gentrification would
occur among those who live in the community. He also suggested that
this legislation should go back to the planning process. Although
this measure was originally dismissed because of time constraints,
Mr. Berger felt that returning the legislation to the planning process
would be justified given the wide array of problems currently present.
Others inquired about the application process needed to make an
organization or artist part of a cultural zone. Ms. Weiner stated
that these application processes would be "very vigorous,"
and that the organization would have to either preserve cultural
heritage or show major cultural activity and organization. Ms. Weiner
stated that the applications likely would be funneled through the
borough council, city council or local assembly, and there would
be plenty of opportunities to have input in the process through
government officials.
The Alliance of New York State Arts Organizations is holding meetings
such as these around New York State to raise awareness for this
project and get ideas for the final draft of the bill. According
to their website (http://www.nysalliance.org), it is possible that
the final draft of the bill will emerge from the next legislative
session, and the bill could possibly become law by next year.
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