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HomeMy WebLinkAboutMeeting Packet - Boulder Arts Commission - 10/20/2004 BOULDER ARTS COMMISSION AGENDA October 20, 2004 5:30 p.m. Boulder Public Library CALL TO ORDER APPROVAL OF MINUTES DISCUSSION ITEMS 2005 Budget Update 2005 Meeting Schedule Set dates for 2005 Major Grant process: Major Grant Deliberation meeting - January 19? BCAA Workshop Proposal Fringe Festival update (6:45) ARTS IN EDUCATION GRANTS ADJOURNMENT 2005 BAC Schedule January 19: Major Grants and lst quarter mini-grants February 16: Quarterly Financial Reports, Theater rental assistance grants March 16: "Technical Assistance Grants April 20: Mini-Grants May 18: Quarterly Financials June 15: Planning Meeting July 20: Mini-Grants August 17: Quarterly Reports September 21: Planning Meeting or 4th quarter mini-grants? October 19: Arts in Education November 16: Quarterly Reports F Boulder 2590 Walnut Street Phone: 303.447.2422 County Suite 9 Fax: 303.440-7104 Arts Boulder, Colorado info bouldercountyarts.orq Alliance 80302-5700 www.bouldercountyarts.org .r Boulder Arts Commission Boulder Public Library PO Drawer 11 Boulder, CO 80302 Dear Commissioners: The Boulder County Arts Alliance (BCAA) respectfully submits this concept letter to the City of Boulder Arts Commission to request $5,000 in support of the Business of Arts Workshop Series 2445. As you know, the Boulder Arts Commission has partnered with BCAA for the past two years by providing valuable support for these workshops. As you will see in this proposal, this investment has resulted in the fulfillment of an important need in the Boulder Arts Community. Description of Goals and Objectives for the purposes of this grant As the leading arts service agency for Boulder County, the vision of the Boulder County Arts Alliance is to ensure that the arts thrive at the heart of our community. We are dedicated to continuing to provide these essential services that our diverse clientele need to enhance their professional practices and to achieve long-term sustainability. The mission of the Boulder County Arts Alliance is to promote and support the artists and cultural organizations by providing expertise, time, money, and opportunities to local artists and cultural organizations; facilitating communication and cooperation between artists and the community; and acting as an advocate for the arts and cultural community. This mission statement incorporates BCAA's principal organizational goals. The goal of the Business ofArts Workshops program is to improve the professional practices and business skills in areas of express need so that participants can thrive and be self-sustaining with their work. The objectives of the Business of Arts Workshop education series are to: • Present 10 Business of'Arts Workshops serving a minimum of35 participants each in 2005. • Secure at least two experts, for each workshop subject area, who can lead presentations that communicate best practices, help develop needed skills, and engage participants in a question-and-answer session. • Provide each participant with written material that contains summaries and references to the workshop subject. • Assist at least 15 percent of the participants with post-workshop activities through ongoing BCAA technical assistance services to enable them to generate new sources of income from their arts endeavors Description of activities planned to accomplish these goals and timetable for implementation The specific activities entailed in sponsoring Business of Arts Workshops include: Activity Details Done By Determine the This activity involves detailed evaluation of community needs, which is December 2004 workshop topics. determined by previous workshop evaluations as well as the specific and ongoing requests for service received directly by the BCAA through member surveys. Locate and Based on the recommendations from the Board of Directors and other members December 2004 for confirm of the BCAA community, the BCAA approaches experts in the fields selected as spring workshops, workshop workshop topics. The BCAA pays them a small honorarium and invites them to August 2004 for fall leaders. contribute their knowledge and expertise on the topic, workshops Confirm The BCAA locates and confirms the space that accommodates both the December 2004 for workshop participants and the presentation, In the past, most workshops have been hosted spring workshops, locations. at the Boulder Public Library. August 2005 for fall workshops Create In collaboration with each workshop leader, the BCAA reviews each workshop 30 days before each workbooks for program and creates a workbook of information that participants can use for workshop each workshop reference after the workshop. Activity Details Done By Market the Each workshop is marketed in advance by the following methods: By deadline dates for workshop • BCAA newsletter each publication and • Posting on other websites (e.g., artsresouree.org) and posting on arts events before each workshop calendars in Boulder County publications • BCAA News and Deadlines sent to more than 850 recipients Beginning of the month Implement the At least one BCAA staff member attends and participates in each workshop. Date of the workshop workshop This is important so that we can meet the people who need and use this service. Conduct the Each workshop concludes by asking participants to provide detailed feedback At the end of each evaluations and about the quality of the workshop and how well it met their expectations and workshop, and then 90 follow-up needs. Participants are also asked to provide information about future and 180 days after each workshops they would like to attend based on the needs of their arts discipline. workshop In addition, the BCAA intends to follow up with participants after each workshop to better determine if the information from each workshop had any direct influence on the artist's career. Description of the constituency served and how they benefit As the city's population has increased, so has the demand for assistance in the daily business of the arts. For the Business of Arts Workshops, the BCAA outreaches to its membership, which has grown to over 420, a number that has increased from 213 since 2001. Of that membership, 74 are Boulder nonprofit organizations representing many members of their own. But BCAA also promotes the workshops publicly throughout Boulder County and the Denver Metro Region. As a result of these efforts, the demand for the workshops has been increasing. In 2001, the BCAA hosted five workshops with 121 in attendance. More than twice that many, 327 people attended nine workshops in 2003. Some workshops have had more than 70 attendees. Based on a demographic survey conducted in 2003, the BCAA serves a multi-generational, multi-ethnic, primarily low-income population. Forty-nine percent of the BCAA members earn less than 50 percent of the area median income ($45,542 in 2003), and 2/3 of the membership noted that their primary income does not come from their art. The benefit of assisting artists and emerging arts organizations is much more than improving the prospects of a tow-income population. Boulder is the center of diverse arts activity in Colorado. According to a report entitled Arts and Economic Prosperity published by Americans for the Arts (of which the Boulder survey was conducted by the Boulder Arts Commission), Boulder arts audiences spent over $11 million in 2002. Not only have the arts been a boon to the economy of the area, but the arts are also an essential part of the area's quality of life. Moreover, thriving artists and their work represent the innovation of our region, a factor that makes Boulder such an enriching and a desirable place to live. By focusing on the success of artists with the Business of'Arts Workshops, the BCAA expects a waterfall effect that will promote the well-being of Boulder's entire community. Other organizations, if any, participating in the activity The Boulder Public Library has customarily hosted the majority of BCAA workshops. However, the Boulder Museum of Contemporary Arts has also provided their theatre for an extremely popular Gallery Directors' workshop that attracted 72 participants. A workshop on Presenting your Arts Digitally was conducted at The Dairy Center for the Arts in collaboration with Boulder Digital Arts. Strategy for evaluating the program/organization outcomes The BCAA keeps workshop registration forms and documents attendance numbers. The pre-workshop evaluations will be used to determine two key pieces of information: 1. Who is currently a practicing artist (in business) and who is not; and 2. Each participant's perceived skill level before taking the workshop. Subsequently, evaluation forms for the workshop will be distributed at the conclusion of the presentation to determine: 1. If participants' expectations were met; 2. If participants feel their skill level was improved as a result; and 3. What professional practices participants intend to use in the future as a result of the workshop. In the follow-up contact with participants, we will find out if they have implemented what they learned in the workshop. We will also find out who has chosen to pursue an arts career or if plans for an arts business (if already practicing) were changed as a result of information acquired in the workshop. Success will be defined and measured by: • the extent to which we achieve or surpass our attendance figures; • by number of participants who have learned and implemented new professional practices and skills; and • the number of participants who are pursuing their art endeavor to generate new sources of income. How Results Will Be Used And Disseminated BCAA's reputation for the Business of Arts Workshop education series has begun to grow. The staff receives requests from other nonprofit organizations and funding agencies for workshop planning materials and the associated workbooks. This information is freely shared with all organizations. In addition, BCAA has been invited to present workshops in Longmont, specifically for visual artists, in collaboration with the Old Firehouse Ails Center and Longmont Council on the Arts. Results from the Business of Arts Workshops are published in the annual Year-End Report distributed to BCAA members and donors. In addition, the results of the evaluations are tracked in a database and used for analysis in determining the future workshop topics. Thank you very much for your consideration of this request. Your investment in the Boulder Arts Community will result in a continually thriving city. Sincerely, Alison Moore Executive Director DRAFT 5 BOULDER INTERNATIONAL FRINGE FESTIVAL Timeline ORGANIZATION, PLANNING, AND PUBLICITY • September - 1. Initiate Plan for upcoming year 2. Initiate Fundraising Campaign -the "Ask" and collateral material - Logo (Phone... Mail info... Meeting... relationship.-.) 3. Secure Public Funding 4. Network with Local organizations 5. Verify Dates for upcoming year 6. Register with CAFF and/or others 7. Finalize Master Schedule 8. Make public announcement - www network, local flyers, fringe press 9. Begin 501c3 Process 10. Bank Account... • October - 1. Website implementation 2. Seek Private Funding 3. Create Application Policies and Procedures 4. Establish "Home Base" 5. Schedule Regular Meeting Times (Steering Committee & Staff) 6. Create Master Budget 7. Create Mailing List 8. Initiate Fundraising/Public Survey 9. Develop Fundraising Strategy (spreadsheet) 10. Develop Sponsorship/Funding Contracts 11. Develop Steering Committee 12. Create Contact List 13. Develop Volunteer Base 14. Venue Tours (Possible Performance Sites) 15. BAG Support Letters Oct. 14 (go to BAC on20th) 16. Elephant Article (15") 17. Develop Venue Policies and Contracts 18. Develop Artist/Group Contracts 19. Make Application Form & Finalize Policies 20. Legal Forms 21. Contact Lawyer • November 1. Finalize Venue List 2. Corporate Sponsorship/Funding 3. Send out Applications/Post on Email 4. Inform the Town 5. Inform the Town! 6. Paint the city of Boulder!!! APPLICATION PROCESS & ARTIST/VENUE DEVELOPMENT • December 1. End of Fiscal Year - Finalize funding 2. December 1, 2004 - Begin accepting applications 3. December 2, 2004 - Hand-delivered applications will be accepted 4. December 15, 2004 - Deadline to receive $50 discount on listing fee 5. Decemberl 5, 2004 - Listing Fee: $200 or $250 after today 6. Millenium New Years Event- Big Marketing possibility David Ortolan Page 1 10/13/2004 DRAFT 5 • January 2005 1. Continue Fundraising Campaign • February 2005 1. February 15 Application Deadline 2. February 15 Final Application Deadline 3. February 16th Placement 4. February 17th All applicants notified (via e-mail) of their acceptance /waiting list • March 2005 PRE PRODUCTION - Technical Deadlines - MARKETING / PRESS INFORMATION* • Mar-Apr 2005 Artist Conferences between Boulder Fringe staff and participating companies • May 15, 2005 Fringe Participant Deadline. Program Guide info, press / PR photos, and signed contracts due. • May 2005 Contracts, including venue assignment and schedule, sent to companies PRODUCTION • July 2005 Fringe Preview Party • August 17-28, 2005 1" Annual Boulder International Fringe Festival • August 27 - Festival Soir6e • August -Staff Party/Evaluation • August 30th - Secure Venues for Next year David Ortolano Page 2 10/13/2004 Executive Summary Draft2 - 1013104 -DO Boulder International Fringe Festival August 17 - 28, 2005 (Thursday Aug. 17th Preview) Vision Statement The Boulder International Fringe Festival exists to enrich our cultural lives and foster creativity. Our goal is to develop and stimulate audiences, economic growth and the creative community at large. By making the performing arts readily available, affordable, exciting and deliriously cool the festival raises public awareness to support and inspire local organizations in their year-round endeavors. The Boulder International Fringe Festival is in service to the community, building bridges between audiences, artists, businesses and civic organizations. What is Fringe? The Fringe encourages audiences and artists alike to approach the arts with a feeling of spontaneity and willingness to take risks, experience life and create art in a fresh new way. For over 50 years International Fringe Festivals have been generating an atmosphere of lively excitement and energy around the world that engages the community. A Brief History of the Fringe 1947. The year the first Edinburgh International Festival, created as a post-war initiative to re-unite Europe through culture. Eight theatre groups turn up uninvited to the first Edinburgh International Festival. Determined to perform despite not being part of the official program, they check in at venues away from the big, public stages. The Fringe is born. There is no central box office, no Fringe program, no publicity - the interlopers just appear, used small and unconventional theatre spaces and took all their own financial risks, flourishing or failing according to public demand. 1948. A journalist unknowingly coins the name that is to later describe the largest and most famous arts Festival on the planet: "Round the Fringe of the Festival drama there seems to be more private enterprise than before. I'm afraid some of us are not going to be often at home during the evenings." 1952. The Scotsman newspaper declares: "Record number of visitors to the Festival." The then Lord Provost claimed that the city held more visitors than Helsinki, which was hosting the Olympic Games. Special trains are scheduled to ferry audiences to and from the capital. 1954. Fringe groups hold their first meeting. "We are cutting each other's throats," says one producer. Joint box office and publicity are given high priority as a cure for this calamity. 1958. The Edinburgh Festival Fringe Society is organized. A constitution is drawn up, a brochure with all Fringe shows published, tickets sold centrally, a club set up and information given. Artistic vetting is to have no place in the society's aims - a decision which still remains central to the development of the Fringe today- 1962. The Fringe Bulletin to performers warns: "competition is intense - we expect the number of Fringe groups performing to increase to 34, against last year's 28." More than 600 performing companies now participate in the Edinburgh Fringe each year. 1982. The first North American Fringe Festival is established in Edmonton. Unlike the Edinburgh model in which artists are responsible for finding their own venues and technicians, the Edmonton Fringe implements a system in which for a relatively low set fee, the Festival provides artists with a venue, a set number of performances, two technicians, and front-of-house and ticketing services. 1 Thanks to the San Francisco Fringe Festival and Edinburgh Festival Fringe for this wonderful history lesson! CAFF Canadian Association of Fringe Festivals The Boulder International Fringe Festival is a member of the Canadian Association of Fringe Festivals (CAFF). CAFF has established a set of guidelines and philosophies to which each Fringe Festival must adhere. Fringe Festival performers are selected via a non juried basis, and the Festival has no control over the artistic content of the performances. In addition, 100 per cent of the revenue generated from ticket sales is returned directly to the artists themselves. CAFF currently has 23 members, including seven American Fringes. Each year, the CAFF touring circuit provides more than 900 theatre companies with an opportunity to present their work in an unjuried, uncensored, and supportive environment. This circuit appeals to the more than 895, 000 people who attend Fringes in North America every year. This circuit allows for the continued evolution and development of artists and audiences from around the world. Boulder International Fringe! The Boulder International Fringe Festival is an annual 10-day performance event packed with live theatre, circus art, performance art, spoken word, puppetry, dance, and storytelling. The fringe is kid-friendly, family-friendly, intellectual-friendly, gay-friendly, faith-friendly, holistic-friendly, and everything in between. Above all, the fringe is fun and inspiring as it brings exciting live performances to the city of Boulder and arts community in a rollicking, white-knuckled, breath-taking fashion. The Fringe community is a well established, existing worldwide network. Boulder has long been a bedroom community for world-class performers and artists from many traditions. The Boulder International Fringe Festival's primary goal is to make use of this tremendous community and give them opportunities to create, perform and workshop new material right here in their own back yard! The 2005 Boulder Fringe will host over 70 artists, local and international, presenting over 100 shows in five days at 30 venues - all within Boulder's cultural corridor in the heart of downtown. Unlike other local festivals the style of the Boulder International Fringe promises to attract audiences and artists from across the globe all the while giving them the opportunity to experience and interact with the local scene. The Venues Everything from theater auditoriums to art galleries, coffee shops, libraries, churches, restaurants, parks and retail shops play host to our fringe artists, with all venues converted into performance spaces for the 10-day festival which literally re-creates Downtown Boulder into one enormous Arts Zone. On Building Community Live Performance is a unique form of social magic. A festival of this kind will support the community in ways that have been tested throughout the world for many years. Audiences, Public schools, universities and private institutions of all shapes and sizes have the unique privilege to participate in the Fringe at a variety of levels. Boulder Fringe includes a broad array of family events, workshops, local business activity and cultural activity throughout each day. Art generates art. It has been proven in many locations that where there is an increase in creative production there is also a revitalization of the local culture. Creativity creates community. Local Boulder artists are sheltered by the limited amounts of touring shows that come to town. Seasoned performers from across the world have experienced audiences from very diverse backgrounds. It is essential for local artists to experience up to date performances from visiting artists in order to experience culture and artistic practices from other places. Communication between local and traveling artists is an important part of the Festival schedule. This includes workshops. post show discussions (Talk Backs), receptions, press and other community mixers. There are also a number of ways to utilize this exposure to the benefit of the business community including electronic advertising on a multi-national website, program display, product placement, donation of services, food and materials. At the heart of the fringe festivals around the world is the unique attention to what is truly community. Fringe festivals are accessible to everyone and have been proven to unify people on a global scale. 2 The Fringe Organization Structural Goal Currently under the umbrella of the Boulder County Arts Alliance, the Fringe is establishing itself as a non-profit 5010 organization, to be funded in part by private foundations, corporate sponsorship, fundraising events and individual gifts. City departments and civic organizations provide additional support and endorsement. Active Community Involvement Several parts of the city of Boulder will have the opportunity to participate in the festival creation and annual involvement. These include: • Press/News Agencies • Venue Group ➢ Retail/Coffeesbop ➢ Restaurant/Bar/Club ➢ Theatre ➢ Public Space ➢ Schools • Educational Programs • Donors ➢ Private ➢ Foundation • Government Organizations • Corporate ➢ Local ➢ National ➢ International • Artists ➢ Local ➢ National ➢ International • Affiliations (Canadian Association of Fringe Festivals - CAFF) • Volunteers/IntemstMoms & Dads/Grandmas and Grandpas Leadership/Vision Team Currently, the Boulder International Fringe Festival is under the advisement of a Fringe Steering Committee that will act as an interim board for the first three years. This committee includes a broad spectrum of the community: Donna Gartenmann (Liaison to the Boulder Arts Commission), Carter Brown (Boulder Circus Center), Cindy Marvell (Boulder Circus Center), Alison Moore (Boulder County Arts Alliance), Dan Pirrello (Millennium Hotel), *******(Convention and Visitors Bureau), Kent Corbell Ken Green and Mollie Fager (The Dairy Center). The festival design and current staff is under the management of Co-Directors Lawrence Kampf, Donald Berlin and David Ortolano. Together they offer over many years of executive experience in Events Coordination and Management, Festival and Conference Management, Performance, Arts Administration, Marketing, Fund Raising and Cultural Development. 3 Budget: Our estimated initial Budget for Boulder International Fringe is $750k. Projected revenue and expense percentages based on collected data from several Fringe Festival Budgets across the United States and Canada. Revenue: 27% Corporate Sponsorship 25% Tickets 13% Advertising 12% Special Events (Fundraisers) 10% Application Fees 7% Individual Donors 6% Private Foundations Expenditures: 33% Production 25% Administration 16% Marketing 13% Artist Payout 10% Development 3% Misc. Expense 4 Boulder International Fringe Festival Organizational Structure - DRAFT 3 - 3 October 2004 A. MANAGEMENT TEAM ROLES & RESPONSIBILITIES DESIGN (Mostly in Year #1-- Transition to Evaluation Process year 2 and on... - Research and Development - Business Plan - Timelines - Budget Projections - Contact Other Organizations Public Relations Contracts Templates EXECUTIVE - Development, Vision, Strategy, New Programs & Projects - Organizational Management - Member Management - Management Team Coordination - Meeting Facilitation (may delegate to other members) ADMINISTRATIVE - Organization Scheduling - Promotion - Grant writing & Fundraising - Record Keeping - Correspondence FINANCIAL - Maintain and keep the financial & accounting records - Make deposits, write checks, reconcile accounts - Make and track the budget - Prepare financial reports - Maintain the fiduciary responsibilities of the Festival - IRS 5016 maintenance UMDZE Time keeper Keeper of the space Jester, dreamdr, creative provocateur An honorary member keeping a broad eye on the group process PRODUCING - Application Selection/Placement t - Production Management - Artist Coordination/Contracts - Venue Coordination/Contracts - Technical Coordination B. MANAGEMENT & ORGANIZATION POLICIES The model is intended to offer simple guidelines to facilitate the decisions and administrative functions of the Organization. These policies are not cast in stone - they may be changed and adapted by a vote of the Steering Committee/Board. 1. The current members of the BF Festival Steering Committee shall serve as the Interim Board of Directors. Board. qualifications and guidelines TBD 2. For the purposes of development, the steering committee with executive positions currently defined shall initiate, coordinate and develop the first phase of the festival. This shall not be less then 3 years and not more than 5 years commitment from each of the steering committee members. Duties include: • Evaluation/Development of Business Plan • Evaluation of Staff • Regular Meetings • Organizational Development • Public Relations • Hiring Staff • Budget Development/Finance • Schedule Approval • Vision/Mission Development 3. After the "initiation phase" Board Members will be elected and shall serve the festival for a term of 5 years. 4. The Board shall elect/hire Officers, who also serve as an active Management Team for the Festival: Festival Team ROLE Term/Contract Festival Vision (Board) Chairperson 5 years Public Relations Chair 5 years 2 Finance Chair 5 years Venue Chair' 5 years Organization Chair 5 years Member 5 years Member 5 years Member 5 years Member 5 years Executive Team - Festival Designer 2 years Executive Director 3 years Administrative Director 3 years Financial Director 3 years Umdze 1 year Festival Stafl'- Volunteer Coordinator 3 years Venue/Artist Producer 3 years Technical Director 3 years Web Services Director 3 Years Interns (3) 1 Year Administrative Assistant 2 Years 5. Potential officers shall be nominated and seconded by members of the Board. Qualifications and skills for the various roles must be evaluated. The Board as a whole then selects qualified nominees for the officer roles. Consensus is the first option of selection. If consensus cannot be achieved within fifteen minutes of discussion, then a majority vote. (any number greater than half of those present) will be used. This rule shall be used for all Board voting processes as long as there is a quorum (more than half of the Board) present at a meeting. 6. Officers shall serve a term of three years. Officers may serve unlimited consecutive terms if elected for such. Elections shall be held annually in either December of the ending year or January of the beginning year. 3 7. All members of the Festival must evaluate each management position bi-annually. The Management Team shall utilize a Review & Evaluation process for each of its members on a quarterly basis. A simple peer and self-review questionnaire shall be utilized to provide feedback on the effectiveness and interpersonal dynamics of the team. A non-Management Team member of the Board may be on called to facilitate the giving of the review and the processing of its results. 8. In the understanding that the policies and procedures outlined here are a flexible and evolving system, a Review & Evaluation process shall also be utilized annually by the Board to allow for change and adaptation to this organizational structure. One meeting of the Festival each year shall be dedicated to "What is working and what is not working" in relation to the Management Team and organizational structure. The Board will make a conclusive report outlining solutions for new development. 9. If an officer does not fulfill the tasks associated with their position, the Board will first review the work of that officer and seek to amend the situation. The Board may ultimately vote to remove that person from the position. A replacement officer will be elected to serve out the remainder of the term as "interim." 10. The annual budget will include compensation for Executive Team members at the rate of (TBD) Exempt Salary. The Executive Team with the Board based on organizational development and funding shall designate non-Exempt positions and compensation. 11. Serving on the Executive Team, as an officer, is seen as a role of both Leadership and Service. It is an opportunity to support the work of the Festival and its artists by managing the financial, administrative and logistical aspects of the Festival's mission. 12. The Executive Team shall seek to work with a collaborative, team approach. All members of the Executive Team and the Festival Staff shall have equal voting power and majority vote shall be the rule. If there is a three-way disagreement the issue shall be taken to the Board for resolution. 13. The Executive Team shall develop annual program and policy recommendations, as well as an annual budget, to be taken to the Board for approval. The Executive Team with the Festival Staff then carries the responsibility to execute the programs and policies as approved, and to keep expenditures within the budgetary levels. Any non- budgeted items over $500 need Board approval before being purchased by the Staff. 14. In developing new program and policy recommendations, the Executive Team shall elicit ideas from the Festival members and Board. 15. It is recommended that the Executive Team and Festival Staff meet on a weekly basis during the first 2 years, and the Board meet on a monthly basis. The Executive Team shall report to the Board on a quarterly basis regarding progress on programs, projects and budget. 4 16. The Executive Team shall coordinate functional committees composed of Board members and other members of the Community. Such committees may include a Venue Committee, a Finance Committee, a Marketing and PR Committee, Production Committees, and a Finance Committee. 17. Each Staff Member is responsible for a set of activities, designated in a Job Description particular to his or her role. This may include delegation to other team members, volunteers, interns and committee members. C. NEXT STEPS FOR LEADERSHIP TEAM 1. Furnish the Boulder Arts Commission with Support letters from local organizations. 2. Verify Festival Dates. 3. Define the duties and responsibility of the Steering committee and festival leadership. 4. Develop new Mission and Vision for The Boulder International Fringe Festival, defining the purpose and role of the festival for its members and the community-at- large. 5. Define the "Business Model" for the festival. In serving its purpose, how will it sustain financially? What products and services will the festival provide? How will it generate income and how will it create value for its members and the community? What role will the Management team and Festival serve in productions and special projects? 6. Create a Master Budget 7. Decide how funds are to be allocated to various projects and productions. 8. Secure listing with International Network of Fringes (CAFF) 9. Create Master Mailing List 10. Solicit a financial base for seed funding from organizations and private donors. 11. Secure the process by which the Festival organization will be under the umbrella of another 501 c3 until it's incorporation dates. 12. Determine a process by which members propose the development of new structures and policies. A written proposal? 13. Develop polices for membership (basic job descriptions). 5 Board - Management Team Venues Active Sponsors Volunteers 14. Establish a regular meeting time for the Festival. 6 The Boulder International Fringe Festiva l DRAFT 2 - 3 October 2004 Articles of Incorporation The undersigned persons do hereby associate ourselves together for the purpose of forming a nonprofit corporation, pursuant to the provisions of the Colorado Revised statutes, Title 7, articles 121-137. • Article I The name of the corporation shall be The Boulder International Fringe Festival. The principal address of the corporation shall be , Boulder, Colorado 80302. • Article II The period of duration of said corporation shall be perpetual. • Article III Said corporation is organized and shall be operated exclusively for charitable, education, and scientific purposes, including, for such purposes, the making of distributions to organizations that qualify as exempt organizations under Section 501(c) (3) of the Internal Revenue Code of 1954 (or the corresponding provision of any future United States Internal Revenue Law). • Article IV The business and purpose of the corporation shall be to: • To enrich our cultural lives and foster- creativity throughout Boulder County. • To develop and stimulate audiences, economic growth and the creative community at large. • To coordinate the activities of members of the festival in a manner which encourages the exchange of ideas, information and experience. • To conduct the activities of the corporation exclusively for educational and related literary charitable and scientific purposes written in the meaning of section 501(C)3 of the Internal Revenue Code of 1954 as the same may be amended from time to time. • Article V The registered agent of said corporation shall be [name registered agent], and the registered office of the corporation in Colorado [state strut address, City of xj~x, County of xxx, State of Colorado, Zip Code]. Signed Date • Article VI The name and address of the incorporator of said corporation is as follows: Name and address of incorporator here In witness whereof, the above incorporator has affixed his signature in acceptance and in execution of these Articles of Incorporation on the day of 2001. Signed Here Name of incorporator typed here Festival founders: Don Berlin, Uwrencc KampC Donna Gartencr, Allison Moore, Garter Brown, Cindy Marvelt, David Ortolano • Article XIII The articles may be amended in the manner provided under the Colorado Nonprofit Corporation Act in effect at the time of amendment, and as prescribed by the corporate by-laws. • Article XIV The initial by-laws of the corporation shall be adopted by the board of directors. The powers to alter, amend, or repeal the by-laws or to adopt new by-laws shall be vested in the board of directors. • Article XV This corporation shall not discriminate on the basis of race, religion, gender, sexual orientation, age, or national origin. Signatures... Don Berlin Lawrence Kampf David Ortolano Donna Gartenmann Allison Moore Mollie Fager Festival Founders: Don Berlin, Lawrence Kampf, Donna Gartener, Allison Moore, Carter Brown, Cindy Marvell, David Ortolano To: Boulder County Arts Alliance 2590 Walnut St., Ste 9 Boulder, CO 80302 From: Heather Philipp, Programs Coordinator Shambhala Mountain Center 4921 County Road 68C Red Feather Lakes, CO 80545 Ph. 970.881.2184 Ext. 229 Fx. 970.881.2909 Email. heather@shambhalamountain.org Date: October 5, 2004 Subject: Recommendation of David Ortolano in support of Organizational Leadership To Whom It May Concern: It is without reservation that I highly recommend David Ortolan for the organizational development and leadership of the Boulder International Fringe Festival. I have know and worked with David at Naropa University and, most recently, at Shambhala Mountain Center, for five years. In that time, he has demonstrated an extraordinary skill in managing and developing high profile events, especially in the area of performing arts. I have consistently found David to be highly dependable, professional, and inspiring to work with. His contributions in the areas of performance coordination, visioning, and on- site presence at this summer's Stupa Day, an annual fundraising event at Shambhala Mountain Center, was a primary factor in the unprecedented organizational and financial success we experienced. Likewise, his work on a number of large-scale events at Naropa University, including last year's Presidential Inauguration, has proved David to be a highly resourceful and visionary leader who follows-through. I am continually amazed by his knack for accommodating a broad range of personalities, technical elements, and administrative demands while juggling multiple projects. I believe that these skills, combined with an expressed love for the arts and well-established ties to the community, would be an asset to a fringe performing arts festival in Boulder. Please do not hesitate to contact me if you have any questions or would like further information. CITY BOULDER CITY COUNCIL OFFICE October 5, 2004 Dear Arts Commissioners: I am writing to express my support and enthusiasm for the Boulder International Fringe Festival.. This festival has the potential to dramatically develop the . international image of our city as well as create a rich and vital economic and artistic environment. As you all know so well, the city . organization works very hard to support and:nurture our arts community, and this would be another way to build on those efforts. In addition, the year-round economic activity that will be spurred by the festival is - of particular interest to-me and to the community. I look. forward to seeing the creation and development of the Boulder International Fringe Festival, and am happy to help move this Worthwhile project forward. Sincerely, Mark Ruzzin Mayor cc: Donna Gartenmann P.O. Box 791 Boutder, Colorado 80306-0791 • (303) 441-3002 Fax (303) 441-4478 www.ci.boulder.co.us Printed on 100% Post Consumer Waste Paper T -D+A# 1* RoT September 20, 2004 The Boulder Arts Commission 1000 Canyon Boulevard Boulder, CO 80302 Dear Boulder Arts Commission: This letter is an indication of The Dairy Center for the Arts support of and desire to participate in a 2005 summer Fringe Festival in Boulder. We have been involved in talks with other Theater and Art Organizations around Boulder for the past several months on this subject. Theater is struggling in Boulder and we recognize that a collective, innovative effort must be made to help revitalize it and grow a theater/performance artist patronage within the Boulder public. We are delighted and eager to help with this and other theater projects in the community. If you have any questions, please feel free to contact me at mollie@thedairy.org or call the office at 303-440-7826. Warm Regards, ,ToMe (Eager Mollie Fager Executive Director ti'+T'p Y Boulder 2590 Walnut Street Phone: 303.447.2422 County Suite 9 Fax: 303.447.2171 Arts Boulder, Colorado info at7bouldercountyarts.org r;T Alliance 80302-5700 www.bouldercountyarts.org l September 22, 2004 Boulder Arts Commission Boulder Public Library Canyon Blvd. Boulder, CO 80302 Dear Arts Commissioners: The Boulder County Arts Alliance is proud to offer its members who don't have 50I(c) 3 nonprofit status services as a Fiscal Agent. We are currently providing Don Berlin and Lawrence Kampf with these services for the proposed Boulder Fringe Festival 2005 and will re-grant funds for this stated purpose. In order to secure Fiscal Agency Sponsorship, the Fringe Festival successfully completed the application and review process demonstrating their professionalism and ability to implement their proposed projects. If you have any questions about this service and our relationship with Don Berlin and/or Lawrence Kampf and the Fringe Festival, please don't hesitate to contact me at 303-447-2422 ext. 4. Sincerely, Alison Moore Executive Director 0 Q;,,I~TiNEfO P a11e IS Tk1E L'oN K'Na T H E 8 R 0 A P W A Y N U s I C R L September 29, 2004 Allison Moore Boulder County Arts Alliance Dairy Center for the Arts 2590 Walnut St. Boulder, CO 80302 Dear Allison, have had the great pleasure to have Lawrence Kampf work forme on both the Staples Center Arena in Los Angeles and on a production of the Lion King in Toronto, Canada. In both instances Lawrence was given considerable responsibility to deliver key elements of the project on schedule and within budget. He demonstrated the ability to manage personnel, interact and negotiate with suppliers, while at the same time managing design expectations. He worked for the most part autonomously, providing management with key reports and updates when requested. In the end he delivered a product that met with our design expectations and also fell within our budgetary parameters. He is a strong leader and manager and I would confidently recommend him for any position. Anne McKay Production Manager - The Lion King Worldwide. _//-BVUvE~ CON4ENT/ONANO RS/TOW AN 6411 2440 Pearl Street Boulder, CO 80302 October 14, 2004 TO: Donna Gartenmann Boulder Arts Commission From: Mary Ann Mahoney RE: Boulder International Fringe Festival The Boulder Convention and Visitors Bureau is excited to hear about our first annual Boulder International Fringe Festival, in summer of 2005. The diversity of performances, venues and cultural experiences that encompass a Fringe Festival dovetails into the Boulder spirit. This is the type of event the Boulder CVB encourages. The Boulder International Fringe Festival will appeal to the citizens of Boulder, draw regional day visitors, as well as those in the Fringe Festival world-wide network. We look forward to getting more involved with the Boulder International Fringe Festival. The Boulder CVB will be assisting with the public relations and promotion of our first annual event. MILLENNIUM HARVEST HOUSE f30ULDFR October 13, 2004 Ms. Donna Gartenmann Boulder Arts Commission 1000 Canyon Boulevard Boulder, CO 80302 Dear Donna, It was great speaking with you and Lawrence the other day. The Fringe Festival is an exciting event that will benefit our community in many ways. We believe the Festival will be an excellent partnership of local business and the performing arts organizations. As you know, we are dedicated to supporting and encouraging cultural art programs in Boulder. We are very interested in partnering with the Fringe Festival. We will offer an anchor venue beginning in May in conjunction with our FAC's. We will provide venues every Friday, throughout the summer. This partnership will culminate with the International Fringe Festival August 17-21. We will be happy to offer both outdoor and indoor opportunities for performances. Donna, please let me know if you have any questions on our commitment to the International Fringe Festival. We look forward to working with you. Sincerely, Kristy Christensen Dan Pirrallo Director of Sales & Marketing General Manager 1345 Twenty Eighth Street, Boulder, CO 80302 kchristensen@mill-usa.com Phone: 303-998-3815 Fax: 303-442-3821 Oct 13 2004 5:02PM CSP 3034926121 P-1 Blue Mountain Arts p wnb qq 1 V ~ ~ Lf i October 13. 2004 Doma Gartenman warard M De.in FmducatgAldsmCtrector Boulder Arts,Commission 303-492-2782 derinrgccb aEO.edu Boulder Public Library Lynn Nlchole Boulder, CO 80302 Gerxi Manager k Casting Director 303-492-1527 Dear Colleagues: shakes@colorado.edu B'yX~.bk Business Naneger I am pleased to write in support of the proposal by Lawrence Kampf, Don Berlin 903-492.4538 bl orado.edu lcem and David Ortolano to establish the Boulder Intemational Fringe Festival in Mau Mcw'nnea August of 2005. The proposal is a sound and realistic plan, and the time frame MarketingPR Director 303--492-Z7 for performances is a very good one, commencing after the close of the three &3 rdukesprgcolorado.eetu summer festivals in Boulder and extending through. a period when very little is NG.kh happening in the city up to September first- mat! rJirect°r 3(3-735-8151 3(3-735-8151 ndcah.abram@cufur,d .cot~do eru The plan takes advantage of the multitude of Boulder area performers and Melutdaj.5cott performance groups, as well as the likely inclusion of visual arts in some form. Educaftm Director 3a3-492-1537 The fringe festival concept is a proven enterprise in many other communities sway,&mbr•daedu such as Seattle, Chicago, Carmel, Toronto and Boston, and will likely grow to be Stv~ McDonald cDona4d an important part of Boulder's annual economic vitality engine, Operations Manngec 343492-2768 _ mcs!onm,a lowiosdu Jeffcrapke The staff of the Colorado Shakespeare Festival will be delighted to support the Audiawr ors Jirettor 303,492-.59M new fringe festival in every way possible, including mailing list exchanges, joint jefEgrrpkoecaloradoedu promotion campaigns, and possible performance or workshop programming. We JahnAmarott feel that the support of this new endeavor in Boulder will contribute to the health Ba Office N'_auager 303492-3160 of all arts activity and wilt not be a conflict of interest in any way with established aescattCmlarad-6D Melia v;BErra arts programming. Buslnet:a /pR Asewfant 3492 1 strongly support the concept, the economic impact promise and the partnership tafpr_asst0hounai]rom ruddCou:ter potential of the proposal of the new Boulder International Fringe Festival. Bdueett°rt Programs Manager 303-492.1-'W aoaltwgcalcrado.edu Honyxeries S' cerely Adn,misU.tve/rR A3sisift-4 r 30:3.4925686 faa4resl~crobrado.edu f ~ Richard M. Devin Producing Artistic Director Colorado Shakespeare Festival Urdversity afCotmwdo.tBwlder 277 UCB • Boulder, CO 80309-0277 • shakes1colorado.edu 6 www.coloradoshakes.org • 303-492-1527 • Fax 303-735-5140 OCT-15-2004 14:37 FROM:OOWNTOWN BOULDER INC 3034491582 TO:93034421e0e P.001/001 1942 BROADWAY, 5UITE 301 BOULDEA, COLORADO 80302 DOWNTOWN Boulder Arts Commission 1000 Canyon Blvd. Boulder, CO 80302 j (303) 441-4113 (303) 442-1808 fax October 15, 2004 Dear Donna: Don Berlin and the staff at the Boulder Intemational Fringe Festival (SIFF) have recently indicated an interest in working with the bowntown Boulder Business Improvement District (BID) to create a two week performing arts festival in August of 2005. We support the festival's plans of interacting with! the Downtown Boulder businesses and the concept of bringing businessiinto the stores along the Pearl Street Mail and other areas of Downtown Boulder. In addition, we pledge to support the festival to ensure a qua* experience for the Downtown Boulder Community. Please feel free to contact me at the below listed number for further information. Since ely, I J e Jenkins ecutive Director Downtown Boulder 1942 Broadway, Suite 301 Boulder, CO 80302 httjp-/1www.boulderdownjown.com 303-443-2122 Q 303-447-1633 1750 Thirteenth Street Boulder CO 80302 1. EB 5 M Ff RARY ARC xeasitc E-mail 7 J To Whom It May Concern: The Boulder Museum of Contemporary Art is very interested in participating in a summer Fringe Festival with other arts organizations in the community. It will be a great opportunity to make the performing arts more visible in Boulder, to enliven our artistic community with infusions from performers around the country, and to work together as a community of arts organizations towards realizing a common goal. The festival has great promise. Sincerely, Brandi Mathis Artistic Director Monthly Site Activity Analysis Statistics Report for Arts Resource. Analysis for the Month of Sep, 2004. Server Activity Totals for Period: Total sessions served : 13083 Total hits made on server : 100384 Total page view hits : 25146 Total non page view hits : 75238 Total time spent by all sessions : 1142334 seconds Total bandwidth : 0.00 kilobytes Session Averages for Period: Total sessions served : 13083 Average hits per session : 7.67 Average page views per session : 1.92 Average time spent per session : 87.31 seconds Average bandwidth usage per session . 0.00 kilobytes Session Origins for Period: Total sessions served : 13083 Total search engine referred sessions : 0 (0.00%) Total referred session : 0 (0.00%) Total blind (no referrer) sessions ; 13083 (100.00%) Page Views per Session Breakdown: 11081 (84,70%) sessions made 1 page view 1522 (11.63%) sessions made 2-5 page views 261 (1,99%) sessions made 6-10 page views 115 (0.88%) sessions made 11-20 page views 67 (0.51 sessions made 21-50 page views 16 (0.12%) sessions made 51-100 page views 21 (0.16%) sessions made 101 or more page views Time Spent per Session Breakdown: 11632 (88.91 sessions lasted 1 minute 579 (4.43%) sessions lasted 2-5 minutes 651 (4.98%) sessions lasted 6-15 minutes 128 (0.98%) sessions lasted 16-30 minutes 43 (0.33%) sessions lasted 31-45 minutes 17 (0.13%) sessions lasted 46-60 minutes 33 (0.25%) sessions lasted 61 or more minutes Page Usage Analysis Analysis for the Month of Sep, 2004. Total pages tracked during period : 144 Total page views recorded : 23814 The average number of views per page : 165.38 Top 10 most commonly accessed pages during period: /calendar/index.cfm with 7341 page views (30.83% of all traffic) /calendar/eventdetail.cfm with 6663 page views (27.98% of all traffic) / with 1317 page views (5.53% of all traffic) /opportunities.cfm with 976 page views (4.10% of all traffic) /search/search.cfm with 755 page views (3.17% of all traffic) /search/searchresultsartist.cfm with 748 page views (3.14% of all traffic) /search/searchresultslist.cfm with 683 page views (2.87% of all traffic) /search/resultsart.cfm with 461 page views (1.94% of all traffic) /calendar/ with 362 page views (1.52% of all traffic) /links.cfm with 348 page views (1.46% of all traffic) Top 10 least commonly accessed pages during period: /ccc/venues/cuartgalleries.htm with 1 page views /ccc/venues/meadowsbranchlibrary.htm with 1 page views /ccc/venues/bouldermuseumofhistory.htm with 1 page views /cfide/administrator/help/whgdata/whnvt30.htm with 1 page views /ccc/venues/artandsoulgallery.htm with 1 page views /cfide/administrator/help/access_connect_to.htm with 1 page views /ccc/venues/guildtheater.htm with 1 page views /cfide/administrator/help/cfm_access.htm with 1 page views /ccc/ven ues/bou I d erdi n nerth eater, htm with 1 page views /cfide/administrator/debugging/iplist.cfm with 1 page views Top 10 most common error pages: /calendar/index.cfmn with 293 failed requests /calendar/eventdetail.cfm with 219 failed requests /opportunities.cfm with 118 failed requests /search.cfm with 88 failed requests /calendar/admin/eventedit.cfm with 76 failed requests /index.htm with 75 failed requests /eventdetail.cfm with 71 failed requests /www.ci.longmont.co.us/museum/exhibits/latinjazz.htm with 67 failed requests /search/index.cfm with 45 failed requests /roesiergallery/search.cfm with 43 failed requests Top 10 entry point pages (first pages viewed): /calendar/index.cfm with 4303 page views /calendar/eventdetail.cfm with 2884 page views / with 886 page views /opportunities.cfm with 745 page views /artspaper.cfm with 210 page views /links.cfm with 166 page views /calendar/ with 164 page views /dance/ with 144 page views /bac.cfm with 130 page views /search/search.cfm with 100 page views Top 10 exit point pages (last pages viewed): /calendar/index.cfm with 4329 page views /calendar/eventdetail.cfm with 2919 page views /opportunities.cfm with 745 page views / with 514 page views /artspaper.cfm with 199 page views /links.cfm with 181 page views /bac.cfm with 167 page views /calendar/ with 153 page views !search/search.cfm with 132 page views /dance/danceeverybody2004.htm with 109 page views Top 10 pages which were the only page viewed: /calendar/index.cfm with 3863 page views /calendar/eventdetail.cfm with 2524 page views /opportunities.cfm with 578 page views 1 with 460 page views /artspaper.cfm with 175 page views /links.cfm with 119 page views /calendar/ with 116 page views /bac.cfm with 90 page views /dance/ with 76 page views /search/search.cfm with 74 page views Usar Agent Analysis Analysis for the Month of Sep, 2004. Total sessions served during period : 13083 Most active browsers by type and version: Netscape 5.x with 6533 sessions (50.35% of all sessions) Unknown with 3248 sessions (25.03% of all sessions) Netscape 4.x with 1657 sessions (12.77% of all sessions) AOL 4.x with 1049 sessions (8.08% of all sessions) MSIE 5.x with 265 sessions (2.04% of all sessions) AOL 5.x with 118 sessions (0.91% of all sessions) Netscape 2.x with 57 sessions (0.44% of all sessions) Netscape 3.x with 21 sessions (0.16% of all sessions) MSIE 4.x with 20 sessions (0.15% of all sessions) WebTV 2.x with 4 sessions (0,03% of all sessions) Most browsers by brand preference: Netscape with 6795 sessions (52.37% of all sessions) Other with 3240 sessions (24.97% of all sessions) MSIE with 1767 sessions (13.62% of all sessions) AOL with 1167 sessions (8.99% of all sessions) WebTV with 4 sessions (0.03% of all sessions) Opera with 3 sessions (0.02% of all sessions) Most popular user operating systems used for access: Unknown with 9773 sessions (75.32% of all sessions) Windows NT with 2178 sessions (16.78% of all sessions) Windows 98 with 523 sessions (4,03% of all sessions) Macintosh PPC with 334 sessions (2.57% of all sessions) Windows 95 with 116 sessions (0.89% of all sessions) LINUX with 39 sessions (0.30% of all sessions) Windows 3.1x with 9 sessions (0.07% of all sessions) SUN OS with 4 sessions (0.03% of all sessions) Top 10 new browser tags during period: msnbot/0.3 ( http:/Isearch.msn.com/msnbot.htm) with 382 sessions Mozilla/4.0 (compatible; MSIE 5.0; AOL 5.0; Windows 95; D... with 67 sessions Mozilla/4.0 (compatible; MSIE 6.0; AOL 9.0; Windows NT 5.... with 34 sessions Mozilla/4.0 (compatible; MSIE 5.0; AOL 7.0; Windows 95; D... with 33 sessions Mozilla/4.0 (compatible; MSIE 5.5; AOL 6.0; Windows 98; W... with 22 sessions Mozilla/4.0 (compatible; MSIE 6.0; AOL 9.0; Windows NT 5.... with 20 sessions Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1; SV1; with 17 sessions Mozilla/4.0 (compatible; MSIE 6.0, AOL 9.0; Windows NT 5.... with ' 16 sessions Mozilla/4.0 (compatible; MSIE 6.0; AOL 7.0; Windows NT 5.... with 16 sessions Mozilla/4.0 (com atible; MSIE 6.0; AOL 6.0; Windows 98; W... with 16 sessions Referrer ActO,0~ Analysis Analysis for the Month of Sep, 2004. Total sessions served during period : 13083 Total search engine referred sessions : 0(0.00%) Total referred session : 0(0.00%) Total blind (no referrer) sessions : 13083 (100.00%) Total referring domains tracked during period : 0 Top 10 most active referring domains during period: Top 10 most•active referring search engines: Top 10 referring URLs during period: To 10 NEW referring URLs recorded during period: "S-essions by' twork Location Analysis for the Month of Sep, 2004. Total sessions served during period : 13083 Breakdown of American Traffic by State California, USA. with 4089 sessions. (31.25 % of traffic) Virginia, USA. with 604 sessions. (4.62 % of traffic) Colorado, USA. with 229 sessions. (1.75 % of traffic) Minnesota, USA. with 48 sessions. (0.37 % of traffic) New Jersey, USA. with 8 sessions. (0.06 % of traffic) Texas, USA. with 6 sessions. (0.05 % of traffic) New York, USA. with 6 sessions. (0.05 % of traffic) Kansas, USA. with 5 sessions. (0.04 % of traffic) Georgia, USA. with 4 sessions. (0.03 % of traffic) North Carolina, USA. with 3 sessions. (0.02 % of traffic) Washington DC, USA. with 3 sessions. (0.02 % of traffic) Illinois, USA. with 2 sessions. (0.02 % of traffic) Vermont, USA. with 2 sessions. (0.02 % of traffic) Massachusetts, USA. with 2 sessions. (0.02 % of traffic) Iowa, USA. with 1 sessions. (0.00 % of traffic) Nebraska, USA. with 1 sessions. (0.00 % of traffic) Oregon, USA. with 1 sessions. (0.00 % of traffic) Tennessee, USA. ' with 1 sessions. (0.00 % of traffic) Michigan, USA. with 1 sessions, (0.00 % of traffic) Maryland, USA. with 1 sessions. (0.00 % of traffic) Ohio, USA. with 1 sessions. (0.00 % of traffic) Washington, USA. with 1 sessions. (0.00 % of traffic) Maine, USA. with 1 sessions. (0.00 % of traffic) Connecticut, USA. with 1 sessions. (0.00 % of traffic) Total U.S. Traffic 5021 sessions. (38.38 % of traffic) Breakdown of Canadian Traffic by Province Alberta, Can. with 7 sessions. (0.05 % of traffic) Total CDN Traffic 7 sessions. (0.05 % of traffic) Breakdown of Traffic by Continent North America with 5028 sessions. (38.43 % of traffic) South America with 5 sessions. (0.04 % of traffic) Europe with 64 sessions. (0.49 % of traffic) Asia with 57 sessions. (0.44 % of traffic) Australia & Oceana with 3 sessions. (0.02 % of traffic) Africa with 3 sessions. (0.02 % of traffic) Breakdown of Traffic from the continent of North America United States with 5021 sessions. (38.38 % of traffic) Canada with 7 sessions. (0.05 % of traffic) Total North American Traffic 5028 sessions. (38.43 % of traffic) Breakdown of Traffic from the continent of South America Uruguay with 3 sessions. (0.02 % of traffic) Colombia with 1 sessions. (0.00 % of traffic) Paraguay with 1 sessions. (0.00 % of traffic) Total South American Traffic 5 sessions. (0.04 % of traffic) Breakdown of Traffic from the continent of Europe United Kingdom with 53 sessions. (0.41 % of traffic) France with 4 sessions. (0.03 % of traffic) Germany with 4 sessions. (0.03 % of traffic) Portugal with 2 sessions. (0.02 % of traffic) Netherlands with 1 sessions. (0.00 % of traffic) Total European Traffic 64 sessions. (0.49 % of traffic) Breakdown of Traffic from the continent of Asia Korea with 39 sessions. (0.30 % of traffic) Saudi Arabia with 10 sessions. (0.08 % of traffic) China with 4 sessions. (0.03 % of traffic) Singapore with 3 sessions. (0.02 % of traffic) Hong Kong with 1 sessions. (0.00 % of traffic) Total Asian Traffic 57 sessions. (0.44 % of traffic) Breakdown of Traffic from the continent of Australia & Oceana Australia with 3 sessions. (0.02 % of traffic) Total Australian Traffic 3 sessions. (0.02 % of traffic) Breakdown of Traffic from the continent of Africa Nigeria with 2 sessions. (0.02 % of traffic) Egypt with 1 sessions. (0.00 % of traffic) Total African Traffic 3 sessions. (0.02 % of traffic) REVISED MAJOR Cm RANT APPLICATION FOR SPECIFIC PROJECTS ARTS APPLICATION BOULDER COMMISSION PROGRAM Goms: highly competitive.You must be registered with the Boulder The City of Boulder has recognized that the Arts are an Arts Resource to be eligible. (www.artsresource. org) essential public service. It is our goal to support the Arts by Funding in previous years does not imply funding projects that: continued support; each application is reviewed 1. Encourage excellence through individual and group anew in the context of current policies and projects. applications. Groups that have received repeated 2. Enrich the quality of life. funding should be aware that the Commission looks 3. Involve the community. for indications of growth or a fresh approach. 4. Diverse projects ExcLuSIONs: Funds will not be provided for: capital improvements, fundraising events, receptions, equipment It is our aim to fund a wide variety of art that demonstrates purchases, existing general operating budgets and/or the best cultural contributions of the community. This salaries for employees of organizations, reductions of includes broad-based experimental, or innovative programs, deficits from past programs, performance seasons, travel or new groups and new projects. art therapy, classes or workshops, undergraduate or student projects, or production of promotional materials such as a e Boulder Arts Commission (established by Ordinance compact disc, videotape, brochure, etc. f629) consists of five members appointed by City Council. EVALUATION or, THE APPLICATION: Each grant will be The Commission will advise Council on grant awards and evaluated on the following: project quality, community the City Council will make the final decision on which pro- impact as evidenced by community support, public grans are to be funded and to what extent. profile, types of programs and services offered, budget, and demonstrated need for support. Supplementary materials GENERAL REQUIREMENTS must accompany each application (videos, audio-cassettes, FOR THE 2005 MAJOR GRANT slides, etc.). 1. All applicants must be of legal contractual age as COMPLETING THE APPLICATION: Applications must be typed defined by the state of Colorado (18 years+). or computer generated using the exact format of this 2. All applicants must have at least one year's continuous application, i.e. questions 1-10 on page 1. Answer all residence within the city limits of Boulder immediately questions. Confine your answers to the space provided prior to the time the application is submitted. unless otherwise noted. Applications may be downloaded Organizations must be based or chartered and in from the Arts Resource website at www.artsresourcc.org. operation in the City of Boulder for at least one year No handwritten applications will be accepted. prior to Lllc time of application. SUBMISSION: Submit completed original and seven (7) 3. All projects are to be performed, shown, or carried out copies of the application to the Boulder Arts Commission, within the city limits of Boulder and be complete by 1000 Canyon Boulevard, Boulder, CO 80302. The applica- 12/31 /05. tion packet should also include one copy of supplementary materials such as photographs, slides, tapes, drawings, press GENERAL APPIICATION GUIDELINES: cuttings, etc. Materials must be cued for a three-minute EuGIBILrt'Y: Grants are available to City-based groups or maximum viewing. Supplementary material should be individuals who qualify under the General Requirements. picked up from the Boulder Arts Commission Office within Awards will not exceed $5000. There is no restriction as to one week after the announcement of grant recipients. The minimum amount that may be requested. In the current BAC cannot be responsible for these materials. climate of budget reductions, this grant program will be Q&A WORKSHOP 5-6:30 P.M., DECEMBER 2, 2004, IN THE BOULDER CREEK MEETIN& ROOM AT BOULDER PUBLIC LIBRARY APPLICANT hidividual Group Formal Organization DISCIPLINE 1)ance FilmlVidco Literary Music Thcater Visual A. Project Outline 1. Project Title 2. Project Summary (a brief overview of your project). 3. Applicant (legal recipient of the grant) Name Phone Street Address (no P.O. boxes) Zip Code SS Number or EIN Number Length of Residency of Applicant in City of Boulder (dates): From To E-mailAddresss 4. Project Director (if other than applicant) Name Phone Street Address (no P.O. boxes) 5. Overall calendar for project (dates of planning, preparation, execution and follow-up): 6. Where will this project take place, if applicable? Your application will not be considered if you do not include a letter of confirmation from a venue. 7. Related activities or events: I 8. How would you carry out your project if you do not receive full funding? Explain. 9. Please explain how support of the proposed project will promote excellence in the arts. 10. Have you previously been awarded City of Boulder Arts Grants? What year(s)? i To'r v: Al OLINT OF GR.AN'r FUNDS RL.'QUEs'rrU FRom BAC: $ B. Project Description omit a two page narrative that responds directly to the following. Be clear and concise. Number, repeat the yucstions, and answer in order. Keep in mind the evaluation criteria. Payment of the final 20% of the grant is dependent on satisfactory reporting and documentation in addition to a written assessment of the program. FOR ORG.ANI7MIONS 1. Briefly describe what you propose to clo, how you plan to accomplish it, and why your project merits funding. 2. Describe community involvement, the anticipated community impact, and public access to project activities. 3. Describe your organization; include structure, mission statement, vision statement (if applicable), brief history, programs, services, and corrununity you serve. 4. Please list the proposed documentation you will present as proof of project completion, in addition to the required hudget report. FOR I[NDWIDUAI S 1. Briefly describe what you propose to do, how you plan to accomplish it, and why your project merits funding. 2. Describe community involvement, the anticipated community impact, and public access to project activities 3. Please attach a current resume and an artist statement. 4. Please list the proposed documentation you will present as proof of project completion, in addition to the required hudget report. All publicity for BAC funded projects must include the following credit line: This 1 I' / 1 1 I I/ al from the / BoulderArts Commission, an agency of the Boulder City Council. In lieu of the credit fine, the BAC logo is available through the Arts • office and on the website - • All applicants must comply with the Title VII of the U.S. Civil Rights Act of 1964 and Section 504 of the Federal Rehabilitation Act of 1973 to the end that no person in the United States shall, on the ground of race, color, national origin, physical or mental handicap, sex or religion, be excluded. C. Budget Description Summary: Please complete each item in the budget. EXPENSES INCOME AND CONTRIBUTIONS 1. Administrative Costs 1. Projected Sales 2. Production Costs 2. Cash Donations 3. Rental Equipment and/or Facilities 3• Grants (Other Than BAC) 4. Publicity and/or Documentation 4. Other 5. Artist Fees (]Honoraria, Stipends) Total Expenses: r Total of Income and Contribution: S PLEASE LIST IN-KIND SERVICES AND AMOUNTS. Subtract the total income from the total expenses.This is the amount you may request from the BAC (up to $5,000). AMOUNT REQUESTED FROM BAC: $ Explanation: You MUST provide a detailed breakdown and description of each pertinent category. List all grants other than BAC and if the grants are secured or pending. Please specify how the BAC funds will be used. SIGNA URE OF GRANT APPLICANT' RA'I'L