Arts and Culture Advisory Committee

0:02As we gather, let us take time to reflect on our privilege to live and work in Gualt,

0:09a city built over rich and dignified histories.

0:12We are guests here and we should reflect upon the responsibility to care for this land,

0:16the people who live here today and the generations to come.

0:19If our actions today can move us towards reconciliation, we should take pause and make those decisions

0:25with attention and gratitude.

0:27This place we call Gualt has served as traditional lands in a place of refuge for many of us

0:32over time, but more specifically to the Atta Wanderung and the Haudenosaunee.

0:38This land is held as the treaty lands and territory with the Missus Augustus of the

0:42Credit First Nation.

0:43Gualt lines directly adjacent to the Haudenosaunee tract and is part of a long established

0:48traditional hunting ground for the six nations of the Grand River.

0:51Many First Nations and UN and Métis people who have come from across Turtle Island called

0:56Gualt home today.

1:01All right, the next item is the disclosure of your interests in general nature thereof.

1:07I haven't been notified of any, but if there's any that someone would like to disclose at

1:11this time, you can do so.

1:15The anys will move on to approval of minutes.

1:19So this is for our last meeting, which was back in March of 26, 2026.

1:26So the recommendation is that the March 26, 2026 meeting of the Arts and Culture Advisory

1:33Committee be approved.

1:34Do I have a mover and a seconder for that?

1:39Okay, thank you.

1:41I'll assume in favor of so any opposed?

1:47No?

1:49Okay, that carries.

1:50Thanks.

1:52So moving on to items for discussion, we have quite a packed agenda.

1:56There are three items.

1:58The first is an update on the Gualt 200.

2:02If there's any, you'll be provided.

2:05I will.

2:07And I'm trying to share my screen.

2:08And yay, there it is.

2:14So just wanted to provide an update on where we are in terms of Gualt 200 planning.

2:25And there has been a community working group that was appointed by council and started

2:31meeting last September.

2:33And it is chaired by Drew Shaw, Danny Williamson is the vice chair, and Leanne Caron

2:39is in an ex officio capacity.

2:43And then Madeline as well as participating on that community working group that makes Madeline.

2:50In addition to the council appointees, we do have representatives from the local MP and MPP's

2:59offices.

3:00So their office staff have been attending the meetings.

3:03And then the community working group is supported by a number of city staff,

3:08including Nicole Neufeld, who's our supervisor of Gualt 200.

3:12So our intentions with Gualt 200 are to reflect on and commemorate the past 200 years of history

3:20and beyond at the place we now know as Gualt, to gather, contemplate and celebrate our community

3:26as we presently experience it, and to use this milestone opportunity to initiate action that

3:32contributes to the ongoing evolution of the city we aspire to be.

3:38There is a bit of an ecosystem in terms of the planning for Gualt 200.

3:42So a lot of moving parts, but the city with the guns of the community working group is

3:49planning and you will see some specific activities to support the commemoration.

3:58We are also supporting community to activate in the ways that they wish to commemorate Gualt

4:03200.

4:03And we're doing that through a grant program, through supporting events, through

4:08different various partnerships.

4:10And then city and Gualt departments are also involved in supporting both community and

4:17city-activated work.

4:19So our circles intercept, but at the center of it is our mighty museums and culture team

4:26that is really acting as Gualt 200 traffic cop and connecting people and providing support

4:36direction.

4:37And so I think the point of this is that there are a lot of moving parts we're doing our

4:43best to ensure a coordinated effort.

4:47So Gualt 200 initiatives that are being led by the city were informed by the input we've

4:55received over the last two and a half years through Half Your Say, which is the city's

5:01community engagement portal, as well as a direct communication from community members,

5:10as well as the communication with city staff.

5:13So we had a list of 142 suggestions that were made about how we should commemorate Gualt

5:20200 and what the community working group helped us land on is the following.

5:27We will offer two signature events.

5:30The first will be a weekend event, the Gualt 200 bicentennial weekend, April 23rd to 25th,

5:37which commemorates with the traditional understanding of the founding date of Gualt

5:41on the 23rd.

5:43And kind of the theme of that weekend will be reconciliation, it will be ceremonial,

5:50it would be educational, doors open happens that weekend.

5:54There will be a big event at the Sleiman Center on the Friday that is a school and community-based

6:04representation celebration of Gualt.

6:08On the Saturday night at Riverrun Center, there is going to be a performance that we've partnered

6:14with Gualt Chamber Choir on.

6:17That's going to include a number of performing arts organizations and Riverrun is presenting it

6:22as part of the Riverrun presents.

6:23It's called Abend in the River.

6:29I get that right.

6:33It's going to be spectacular.

6:34There's a storytelling event planned at the museum.

6:36So that's kind of the ceremonial, there will be trees will be planted that weekend.

6:41So that's kind of the ceremonial type weekend.

6:44The second signature event we're presenting will be the Gualt 200 homecoming festival,

6:50which will be July 30th to August 2nd.

6:52That coincides with the provincial civic holiday weekend.

6:57And locally that has been known as Gualt Day.

7:00And so that will be main stage entertainment, music or law parties.

7:06That will be the party weekend for Gualt 200.

7:10And then we're looking at a number of other event partnerships as well,

7:13where there's an opportunity to partner with existing events to provide

7:21a Gualt 200 content lens to some of the events that are happening across the city.

7:30We are also leading brand development and I'll show you, we did launch

7:35the day that this presentation was scheduled in March was the day that we launched the logo.

7:40So I will show you that in a moment.

7:44We are also leading marketing communications campaign for Gualt 200.

7:48And so working with the city's cobs team to implement that.

7:52And we're developing a collective events calendar that will be part of the new digital culture.

7:58And so that will be launched in time for Gualt 200.

8:02And so there's a one stop shop to see all of the Gualt 200 activities that are happening,

8:08both city driven and community driven.

8:13We are also spearheading some commemoration legacy initiatives.

8:21We along with the city's inter-department or intergovernmental department will be

8:27considering reconciliation initiatives in consultation with our Trinity partner and

8:32local Indigenous community members.

8:36We're looking at community and volunteer mobilization, souvenirs and sway,

8:42partnerships for public art and education and environmental initiatives and infrastructure

8:47and naming opportunities.

8:48Those things live in other places.

8:50Public art, for instance, lives in as part of the museum and culture team.

8:55So that's not something that the Gualt 200 community working group will be leading,

9:00but we will be linking with environmental initiatives with other city departments,

9:07forestry initiatives.

9:10So this is the part where we'll be linking with others and insurance of coordination.

9:18And then probably the biggest way that we're supporting community activations is through

9:23the Gualt 200 grant program.

9:26There has been, we had one intake and I will share some data on that intake with you.

9:33We haven't announced the recipient yet, but that announcement is coming within the next month.

9:38There will be another intake for grants in November of this year.

9:45And so on the Gualt 200 grant program, on the first intake, we received 43 applications,

9:51requesting a total of $216,390 in funding.

9:5825 of those applications aligned with arts and 13 applications aligned with heritage.

10:05And what's important to know is that the applicants could pick multiple alignments.

10:10So some will have multiple alignments, but 25 squarely indicated that their initiative

10:18was arts related, 13 heritage.

10:23We did have a grants review team that reviewed all of the applications and recommended funding

10:28for 17 initiatives for the total amount that we had available, $75,000.

10:35So of the 17 funded initiatives, 11 of those were arts specific initiatives and two were heritage.

10:42And then through the application process, there were three applications that came in

10:49that we identified were better suited to be supported in different ways.

10:55So either we had money for those initiatives and other

10:59pockets of the museum and culture budget, or one initiative, for instance, was better

11:07lined, is a marketing initiative. And so it was better for the funding to, for that to come out

11:12of our marketing budget or Gualt 200 rather than the grants. And so that enabled us to extend

11:19three more initiatives valued at $22,000. There is our Gualt 200 logo that was assigned

11:29by the city's graphic designer. And I love it. It, as you can see, it centers the river,

11:38the rivers, and where the rivers meet. And I love the way that it flows through the 200

11:47so that it begins before 200. And at 200, it flows through time. And I love the heart too

11:57that the river makes. So there is an artist statement that explains it more articulately than I just did.

12:06And so that was launched, that logo was launched in March, March, no April, it was on April 23rd.

12:17And it is going to be made available to those who are doing Gualt 200 initiatives,

12:24whether we fund them or not, there will be an opportunity for community to request

12:28use of this logo. And it's our hope that lots of people will use it to brand their commemorative

12:35initiatives. And so the question for the Arts and Culture Advisory Committee of Council, having had

12:43this overview, I'm happy to answer any questions, but Gualt 200. But is this committee satisfied

12:51that Arts and Culture adequately represented in our plans today? Turn it over for a yes or no

13:00discussion. So is that in respect to like the Gualt 200? Is that the question or okay?

13:11I mean, I would say that basically, when we talk about arts and culture, we're talking about food,

13:16music, and I find there is at least this one major event, the Bloke Party thing,

13:25and about the food. So I would say to a large extent that represents culture, right? So now,

13:33I don't know how that event, the Bloke Party thing, is that like a one day thing?

13:38It's, we're still working through the details. It is, we have identified four days, so from the

13:46Friday evening through to the Monday. We know there are some parameters around that. It's likely

13:54we're going to do a movie in Market Square on Friday night, concerts on Saturday and Sunday,

14:01probably late afternoon into the evening, food vendors, both of those days. Sunday is

14:09Emancipation Day, and so we are looking to do something on Sunday with the Black Heritage Society,

14:21and then that will include food and music as well on Sunday. So likely a Sunday

14:28afternoon, early afternoon. Okay, so I imagine we're having lots of like full music and really

14:37wealthy. I imagine, I mean, we have, there is a list of targeted artists. I think,

14:48as we've been considering though, because there was discussion about do we bring in

14:53big artists that would draw in a lot of people to celebrate wealth that don't necessarily have

14:59a wealth connection, but I think we've landed on wanting all of the artists to perform,

15:05to have some connections. Well, folk music is a big part of the narrative, but it's not the only

15:12narrative. And so the list of our artists is actually quite long and diverse. And we will be

15:20looking at engaging a task force, and you might want to participate on that ban, to help,

15:29to help program that we can identify the artists. So there will be that opportunity to have a say

15:36on who we... I mean, I'm honestly respecting the wealthness of the festival. So if it turns out

15:48that it's all folky and all country, honestly, it's wealth. It is wealth. So I don't expect that

15:57everything has to accommodate everyone. So I just feel, if that's what it is, that's what it is.

16:04I just feel a respect to the food part. I'm thinking like, if there are ways we can help,

16:12how do I say this? People usually say that, oh, there's no culture here, but there is. I feel like

16:22people just don't have that consciousness and the sense of attachment to it. So if the more we are

16:33able to help people connect the dots, seeing that even if it is hot dog, that's us.

16:43You know, if it's barbecue, that's us. So however we were able to design the events such that the

16:50arts and culture, people can just see that just food for the sake of food, while people see that

16:55this is us, they can feel connected to it. I feel like it represents the culture well enough.

17:01Yeah. So yes, it does represent arts and culture.

17:14Yeah, I mean, certainly the ecosystem, Venn diagram really showed how much

17:24arts and culture is connected to every part of the celebration, which is great.

17:39Yeah, I mean, that's a detail support. I mean, at the end of the day, as long as we're able to

17:43in Colquay put fashion, I mean, how we're looking off the food we eat, the song,

17:53we're listening to how we leave. I think at the end of the day, that's what culture is,

17:59just how people leave. So as long as we're able to in Colquay, which I feel, I see it in there,

18:04I think to a large extent, it does. The arts part, I'm not so very arts. So yeah, who do I ask the

18:15question now? How are we exactly reflecting our arts over that event? And I'm thinking out loud

18:27and hoping somebody else will help me. Can somebody help me? Are you wondering if visual

18:33arts is involved in the signature event? I'm just open to whatever thoughts. Maybe I'm just not able

18:39to, but yeah, I'm thinking about the arts part. How well are we reflecting well arts over that event?

18:54I think I do think that's a good recommendation to make that we ensure that we're doing that in a

19:01variety of arts. So that we are still working on developing the framework for those signature events,

19:08but visual arts is considered in school, artists and artists in the school program,

19:16that will then be represented at the Sleiman Center event. Arts exhibitions,

19:26that artists and vendors during the Homecoming Weekend event is kind of in the mix.

19:33Film is in the mix, but I think working with the Guelph Film Festival, not just presenting

19:42a blockbuster film, but working with the Film Festival to ensure that that event reflects.

19:49Yeah. Would that be what you're suggesting? Yeah. One last thing, please. I would like to recommend

19:58that I don't know, we don't have the details yet, but just having some free non-ticketed events

20:06that people out there without nothing can just be a part of it somehow. So that I feel will be

20:13very helpful to people that are unable to access lots of things. Yeah. I will say the Homecoming

20:21Weekend concerts will be non-ticketed. There are ticketed events, but there's also on the Guelph 200

20:29events and others at the Riverrun Center, a sliding scale pricing, so you can get tickets for as low as

20:36ten dollars. Yeah. Sounds good. I have a question which is maybe tangential, but maybe not if we

20:46pull one unit sort of, I'm sure, component. I was happy to hear that you were connecting with the schools.

20:57And I'm wondering about through marketing or events or whatever,

21:04if there's been thought to connecting to the groups or places, either cultural groups

21:14or the places in the city that tend not to come to ticketed events at the Riverrun or

21:24sort of the downpour kinds of things. Community is maybe the Brandt Avenue community or the

21:33Willowes community where there may be opportunities to connect with groups that may not traditionally

21:49take part in this kind of an event, but would be certainly historically part of

21:58Guelph's fabric, right? Yeah. Yeah. I think that's a really good recommendation for us to

22:07make sure as our plans evolve that we're considering that. We do have, we are working with the Guelph

22:17Neighborhood Support Coalition to support neighborhood specific, activated events that

22:27work in the neighborhoods. I can say within the Guelph program we did hear from groups or community

22:34groups that we were not aware of before. So that was very cool. And so building kind of

22:44those experiences, I think. Yeah. I think we could advance that recommendation.

22:51And so I just wanted to follow up to that, talking about groups. I mean, is there a possibility also,

22:58I feel like they're really the indigenous community. I don't know so much about them

23:02and how to reach them, but there's a chance of actually connecting at least a group so they feel

23:11the representation across the, what I just feel it would be good to have, not just get remembered

23:19when it's like the orange, they are something, but they have something tangible that gives them

23:25a sense of connection to that weekend or to that event. So that group, if it exists, it might be

23:33something worth looking out to see if they can be involved in some way. I don't know where they are.

23:38I don't know. I don't see people, but I don't really know where they are. Yeah. So there's any way to

23:42connect with that level. It might be helpful. Yeah. So just in terms of connections with

23:48indigenous community through intergovernment, so we are working with connecting with our

23:53treaty partner, the Mississaugas of Credit First Nations, as well as Six Nations of the

23:57Grand River, and those are kind of the formal municipal to nation relationships. We have

24:09had engagement from individual indigenous community members in some of the,

24:16we did a town hall and we did a, I want to cut, we were calling it a matchmaking event. That's

24:23not in the end what we call it, but kind of a community building event that we did out with

24:28the logo. There are various, I guess, groups of indigenous folks. We at the Bulk Museums have

24:42worked with the Decolonial and Simplice Narratives, Reethers Collective, there's the Bulk Indigenous

24:48Community Council that we've been in touch with, and so we have been doing that outreach.

24:55So are they not meant to do all this period? Are they involved in any way?

25:00Yeah, I can't, I can't, I can say when the funding is announced. You'll see

25:08that some representation there, but it isn't. It's okay, I feel like it's not out yet. I'm just

25:15just just thought. Yeah, the discussions have been happening. We have identified reconciliation

25:22as a driving principle of this commemoration. And yeah, yeah, so we're working hard to ensure

25:36that those connections are there. And I will say the grant review team, which is volunteers from

25:47community working group, when they were assessing the grant applications,

25:55one of the, we had asked applicants to explain their alignment between the activity, the initiative

26:02they were proposing, and our priorities, including reconciliation. And the grant review team was

26:13like very precisely looking at how reconciliation was acknowledged, represented in the application. So

26:23I would say like the community working group is really embracing

26:33those guiding principles and ensuring that the work is performed.

26:38Yeah, there's advice on wealth 200. It sounds like

26:48you're always happy to be thinking what is that?

26:52I was just good at what everybody else is being like. It's something that, well, I think about. So

26:57I do think that there's a space for arts and culture. It's something that I am aware of when

27:04I sit on the working group. So yeah. Wealth is such a big arts and culture community that to

27:13commemorate, to commemorate, like it wouldn't be possible to commemorate wealth without

27:18centering commemoration in arts and culture. So such an important part of me again.

27:25I will say I was doing like a little bit of research over the weekend.

27:28And I just happened to find stuff from the CESA sequential in 1977. And it was

27:37commemoration, swag, like kind of stuff that was created. And it is really interesting because it

27:42was like two G's. That was the logo. There was a big focus on the wall. Everybody in the photos

27:47kind of looked all the same, but they had outfits made, like a top with the logo all over it. And

27:54matching shorts and a hat. And I was thinking of bringing back like swag. I'm like,

28:03John is at the first order.

28:07It's, anyways, I thought, so I was just like, this is hilarious.

28:13Yeah. We probably have those outfits in our collection.

28:17Yeah, we can bring them out.

28:30Was there a recommendation with this one?

28:32Yes. I will display it on screen.

28:42I'm sharing it to you.

28:47Just wanted you to just proceed and maybe we can just couple of comments.

28:50Usually we follow them together.

28:52Yes.

28:53Should be.

28:54Yeah, if you would.

28:56Through you, chair, I have attempted to capture the comments by our committee members.

29:01If I have not captured it accurately or you have any changes to make, please let me know.

29:06I will display them on the screen now.

29:13That chair, would you like me to read them out?

29:15Yeah, that'd be great.

29:16Okay. So the motion is that the Arts and Culture Advisory Committee provide the following

29:22comments for staff's consideration regarding Guelph 200.

29:26That staff explore ways to demonstrate the connection between food and Guelph culture.

29:32That staff incorporate fashion and song as elements of Guelph culture.

29:36That staff ensure a variety of visual arts are incorporated as part of the framework.

29:42That staff incorporate free non-ticketed events to, and I didn't quite catch the last,

29:48that staff consider ways to connect with communities that do not traditionally take

29:53part in city events as they are an important part of Guelph's fabric.

29:58And lastly, that staff connect with Indigenous groups so that they are represented and create

30:02a connection, a sense of connection with Guelph 200.

30:11I didn't mean to, I interrupt.

30:13That's okay. Sorry.

30:19Just any edits that you may like?

30:41I don't know. The part that we have hanging the staff incorporate free non-ticketed events to

30:46improve, I'm thinking something like maybe community-involved lands where engagement,

30:52if that works, just so that more people are able to be a part of it regardless of,

30:59yeah, something like that, that works for everybody else.

31:10I wanted to note that Indigenous should be capitalized.

31:12Thank you.

31:13Yeah, thanks.

31:30The fourth point, I'm not, okay, I'll just try.

31:34So my thought process, I'm just saying, my thought process, this, you don't have to,

31:44this is just me thinking aloud, right?

31:46My thought process would be that the food and all of those, the culture helps to build

31:54a sense of cultural identity for people.

31:58That's like the idea behind that point.

32:07So that, yeah, this is the expression between food and Guelph culture

32:13towards building a cultural, a sense of cultural identity or something.

32:23And if that doesn't make sense, because I just think about these things all the time.

32:28If it makes sense, it doesn't, please feel free to chalk it out.

32:32Yeah, building a sense of cultural identity.

32:37Oh, not a scent.

32:38Yeah, a scent, something like that.

32:55I'm wondering if the first and second could maybe be condensed into one,

32:59because I think it's kind of speaking to the same fashion and song.

33:05Would you like it to say food, fashion and song?

33:08I do.

33:08Yeah, sure.

33:10I'm thinking the second last bullet point, traditional, should be traditionally.

33:41Just for the grammar.

33:42Yes.

33:43Thank you, Chair.

33:44Sorry.

33:49Take a card in the city from any other.

34:06Maybe Scarlett's Pass, I hope he's there.

34:10Is Scarlett still there?

34:11Scarlett, do you have anything to add?

34:13I am still here.

34:14Sorry, I'm trying to track down this HVAC person.

34:19I'm collected.

34:21It looks great to me though.

34:22I was listening at most of it, but it looks good.

34:28Thanks.

34:32Should it be cultural identity?

34:35Does this turn the person?

34:38Cultural identity.

34:39Cultural identity.

34:40Yeah, just a scent.

34:42Yeah.

34:45Yeah, that's what it says.

34:47It's called community.

34:48Yeah.

34:49Oh, culture.

34:52Okay.

34:55It's not wrong to say that.

34:57Yeah.

35:02Chair, I'll turn it over to you unless there's any further comments.

35:06Okay.

35:07So the recommendation is that the Arts and Culture Advisory Committee receive the staff report.

35:13Title 12, Mother Update, April 26th, and that the Arts and Culture Advisory Committee

35:20provide the following comments for staff's consideration regarding GWAL 200,

35:26and then all been listed on the screen.

35:29Do I have a mover and a seconder?

35:34Similar.

35:35Seconder.

35:38I'll assume and favor so any opposed?

35:40Yeah.

35:43Okay.

35:44Very.

35:48Thank you everyone.

35:49So we'll move on to the next item of discussion, which is the City Hall Clock Assessment.

35:54And I think Tammy is eager to speak to that.

35:59Indeed.

36:00So the report was included in, a full report was included in your package,

36:08but just to review the key findings, the clock from the original City Hall Bell Tower was

36:13decommissioned a long time ago before I was even born.

36:17And it's compulsive in storage ever since.

36:20All of them.

36:21Except me.

36:24The preservation of the City Hall Clock was identified as an opportunity,

36:29potentially aligning to GWAL 200 commemorations.

36:32This came up when we were doing our report to Council on the Culture Plan and the clock

36:39and the bell, which is now installed in the courtyard here.

36:43We're raised during those conversations.

36:45And so our Museums and Culture Curatorial Team led by Dawn,

36:51did an assessment of the clock components,

36:53and identified some potential options for consideration.

36:59And we're seeking feedback from you tonight to help inform how we move forward.

37:05So in terms of the assessment of the clock components,

37:09it's a very nice picture taken by by Dawn.

37:13Once it's in your photo.

37:14Yeah.

37:16They're stored and have been since 1961 and four crates and a pile.

37:23It's unknown if all the components are there and we fully expect that the components are not working.

37:30There's no labeling or storage configuration or instructions on how to put it back together.

37:36The components are very cast iron sheet metal, subwood material.

37:41They are covered in a layer of grime.

37:43There's some surface rust and pop marks.

37:46But the components we can see look to be structurally sound.

37:52And the relocation, if when this material is relocated,

37:59it will require new crates support, professional moving support, and adequate space for working on them.

38:08In however we decide to want to work on them and store them.

38:12So the prevent potential preservation scenarios that were identified.

38:16One is restoration into a functional clock.

38:20The professional opinion of our curator and team is that that we are not sure that that is even a viable solution.

38:30And would be would be very costly if it could be done.

38:38Another suggestion is using the components for public art installation.

38:43Another suggestion is just a public display of the clock face plates.

38:49Of which there are how many not sure how many survive.

38:54It was hard to say to count how many are in the material that we could see.

39:02Without like disturbing the material in its image.

39:05I don't think all the face plates are there.

39:08And there were what 812.

39:12I don't know the answer to that question.

39:13Looks from the.

39:14All the while they surrounded the power.

39:16And yes, they're one working.

39:18Is there one clock.

39:21With all those different.

39:25Things working off the ones mechanism or does each other wish I knew that because it would.

39:29It would.

39:31Tell us that how it operates and actually we don't have a record.

39:34Well, yeah, any of it sort of like how the piece goes back together and how it operated in situ.

39:40At least in the records that we've been able to examine so far.

39:44So.

39:46Can't I wish I could answer back.

39:47I would love to know the answer to that question.

39:49Yeah.

39:53Another potential scenario is acquiring.

39:58The components into the museum's heritage collection, but it should be noted we could not.

40:05Acquire all the components.

40:07It would be a select and meaningful.

40:11Selection of components that would help to tell the story.

40:15And that could have some display potential.

40:19That when it became possible and tell the story in the museum.

40:24So acquiring.

40:27Representative sample of the material is an option.

40:32The other two options are to transfer to another organization.

40:38Or to dispose of the.

40:41And I would suggest five and six would be last case scenarios for us.

40:46I think there is a desire that that representation of that history stay local.

40:53And so I think likely the most what the most likely scenarios would be two, three or four.

41:04And so that's what we're looking for your feedback on tonight.

41:08How informed are next steps.

41:11So I guess the questions for this committee are should the clock be preserved.

41:17Should preservation prioritize the heritage value of the clock or the artistic value.

41:24Is there a preferred preservation approach.

41:27List that I shared.

41:30And is there a preservation approach that should not be considered.

41:35And perhaps I should add in my bio.

41:38I'm sure you'll make those.

41:40And I'll put them.

41:42Put them potential preservation to their scenarios back up on the screen.

41:47And as you discuss and provide your best advice.

41:53So have you had an o'clock guy?

41:57Have you come and.

42:00We haven't had a clock.

42:01God yeah.

42:02No, it really isn't in condition at the moment to have an expert come in and really examine the parts.

42:09You saw the one photo of sort of how it how it lives at the moment.

42:14It is stored in a place that is not easily stolen.

42:17Yeah, yeah, they cut falling apart.

42:19So in order for us to make the most of an opportunity to bring in an expert, we would have to move the component parts.

42:25Have them uncreated recreated, you know, and in an area where they could like examine the parts closely.

42:34But wouldn't somebody like I'm thinking somebody who knows all.

42:39Organs pipe organs would be able to look at all the photos and have a sense of how that works.

42:48Wouldn't there be somebody who knows clocks who would look at that clock tower and go, oh yeah, that's probably an XYZ. Absolutely.

42:56There is a there is a confidence team in Ontario.

43:00And we could certainly reach out to them.

43:04But I think we hesitate doing that until we know what we're asking them for.

43:12Right. And so are we asking if there's potential for restoration?

43:17What it would take or I would say as part of a number of these outcomes would include consultation with a conservation expert.

43:27Who is, you know, a clock expert, basically, I'm sure they have a more official title than clock expert.

43:33But and there are other municipalities who have restored clocks from what state I don't know.

43:40But we would certainly look for recommendations and advice if we were to go in that direction.

43:45Right. But I guess as curator, I would caution that its current state suggests that there are likely to be missing or damaged parts.

43:56And, you know, we won't be able to identify that, you know, as a curatorial team without consultation.

44:03So we would absolutely factor consultation and to most of these outcomes.

44:08Yeah. Do we know if it might be rare or valuable?

44:12Is it the last if it's the last thing made by Mr. Howard in Boston Mass or?

44:20We don't know that.

44:21That's a great recommendation for us to explore that to see if we could.

44:25I'm just looking at the scenarios, you know, I mean, sounds great.

44:32The ones two, three and four maybe, you know, look like the most have the most potential.

44:41But if we did find out that it was something of great value that would change things a bit, I would think if it was.

44:50It might influence whether our focus, our prioritization is on heritage as I'm used to.

44:59I do appreciate that question.

45:00No. And as a recommendation, I would welcome that directive to explore that angle.

45:07Yeah. And I think on the subject of value, something that what I was wondering while reading the report is I would like to know, like, more specifically about the clock

45:19mechanics, the specific craftsmanship, any historical events kind of tied with the individual that made it or what the clock itself.

45:28And then sentimental historical value.

45:31Like, I know that there's individuals within the community that have a lot of mental value for the clock.

45:39But those kind of other pieces that might determine whether it's heritage versus artistic, it would be, I think, valuable to know that kind of

45:48distinguish the approach.

45:55I think in addition to that, we could, and we've done this internally and I think it's part of the longer report

46:04is looking at how the clock is represented elsewise in the heritage collection already.

46:09So we have lots of photographs over time that include the clock in its representation.

46:14So that typically the photograph is taken of an event that is in the place of the clock, right?

46:20So we can start to tether some of those historical moments to the site of the clock itself.

46:24If not the clock specifically, it's more often like city hall and that relationship rather than the clock itself.

46:31But there's already a bit of that record in the heritage collection.

46:35So I think we could, as a recommendation, also look at it from those, like, very specific lenses you've identified, Madeline.

46:43Yeah.

46:43And may I suggest too, I don't know that it's a two, three or four exclusively.

46:50Could be some combination of, like, all three of those things.

46:55If we deem, for example, historical and heritage and artistic value are all kind of weighted equally and we want to

47:05acknowledge that in a multiple ways, I think that's a scenario as well.

47:10It doesn't have to be just like one of the six options or one of the three most viable pieces.

47:18Yeah, there's lots of parts, especially with multiple faceplates.

47:21There are multiples, but I'm not sure if all have survived since it was decommissioned.

47:29But I can see some version of that.

47:32And I would say too that there will be some components that would be disposed in all of these scenarios.

47:40Just based on condition and a conditional loan.

47:46So just to keep that in mind, that it wouldn't ever be the entirety of all the pieces that are still remaining that would be preserved.

47:53We would have to dispose of some of the material.

47:57It's, I think it's really an exciting collection of stuff.

48:07And it, I mean, with the historical component, it opens up all kinds of really interesting creative options,

48:17ways to use it and to represent it and to think about time and the history.

48:24Yeah, I think there are somebody with a creative mind, a creative historical mind,

48:31can think of lots of super cool things to do with that, I think.

48:36Yeah, I think we could recognize the heritage value while still,

48:42well, maybe it's more demonstrated in a public art installation.

48:46It doesn't need to, I love kind of when the history changes, it doesn't need to always be a clock for it to still have historical value.

48:56So I think I'm more of a fan of something along the lines of a regular installation,

49:02or public display of the clock face plates.

49:05I think full restoration, no.

49:08It's, I think it's just like the investment of time and resources compared to other artifacts that might

49:16require that more, I just think.

49:19And I think also with coming up to the Goelk 200,

49:23something that I think about a lot is having some kind of public art installation that kind of recognizes

49:31the 200.

49:32And I do wonder if this is something that could be tied in.

49:35And I have heard from people that are interested in kind of building something like with Masonry.

49:42And I wonder if that, if the clock could tie into that in some kind of way.

49:46So that's kind of what I was thinking as I was going through the report.

49:54I just think it's so important to make sure that

49:58that we aren't

50:00uh losing

50:05something that may have value in the bigger world.

50:17Yeah, I mean I can speak so much to this, but what I'll like, my thoughts are just basically

50:24the resources that will be needed to get those things done.

50:29How I'm able to resources.

50:33Our purpose would always be either

50:36for it to be preserved, right? But the resources to

50:42getting that done, how available are the resources.

50:46I don't think that parts for me to consider like I would recommend, I don't know.

50:50I don't know.

50:52But at some point I feel like there'll be needs to

50:57I mean to say that before you set out on a journey, you want to know the cost of the journey, right?

51:03So I know you did mention that you want to know why you're going to before you find the cost implication.

51:09Did you say that?

51:11The question I think initially was about consulting an expert in terms of conserving the mechanics of the clock.

51:18Okay, okay.

51:19Before we get to that stage, that stage in particular we would need to invest

51:24in recreating, moving, placing in storage.

51:28That's a lot right.

51:31It costs something.

51:32Definitely.

51:32Yeah.

51:33Okay, yeah.

51:34That part can't be done in situ where it is.

51:36Right.

51:36That's the challenge.

51:37Yeah.

51:37Right.

51:38So if it wouldn't cost so much to at least

51:44know what would look like putting things together and know what the missing parts, if there are,

51:49the most likely there will be, I would suggest that at some point that needs to be done.

51:55So at least you know what you're working with because at this point

51:59maybe all we have in the box is just the face of the clock.

52:05You know, so I would recommend that at some point we need to know at least how

52:12easy would it be to put it together.

52:15And at that point we can determine if it's going to remain a public art or either of the three,

52:22two, three, four that are options.

52:25But I feel like either of the three will be fine.

52:30Which is the museum's heritage collection.

52:32If it's going to end with the museum collection, I think you would need to do that, right?

52:36If we're going to be a display on the clock face plate,

52:41we'll need to, at some point we will need to know what it will look like.

52:43And we would have to conserve the plates also anyway.

52:46Like there's no single piece that is, can go without the treatment either, you know,

52:52the very basis cleaning.

52:53So there is an investment of resource in every version of that.

53:00And of course the scale slides dramatically depending on,

53:04but I think as a recommendation, you know, we can, you know, undertake

53:12like consultation with experts to obtain, you know, broad estimates on each of the items.

53:19I think that's fair.

53:21They would be broad estimates though.

53:24So still scope and scale, like defined by scope and scale.

53:28Yeah.

53:30And if the museum is willing to put as much as might require the cost implication,

53:39will be what you want to consider, right?

53:41So you, the museum people would know better.

53:46How far you are willing to go in regards to investing?

53:51I don't know, but I don't know.

53:53Those are my thoughts.

53:55I don't know what else to say.

54:01But if they preserved somehow, definitely transferred and not disposed,

54:08that would be our chance for sure, right?

54:13Emily, I think transfer would be tricky to find an institution to take on scope and scale of

54:19what we're discussing today.

54:21And it's not their clock or doesn't have the historical connection necessarily.

54:28Disposition, I think it will be partial disposition regardless because of current

54:33condition.

54:34Like we won't be able to save everything.

54:37So I just, I want to temper the kind of, you know, the scope and scale piece a little bit.

54:46And I would say to operational resources, I'm honest, compared with what we're looking at here.

54:56Currently in the current budget, it doesn't include investing in this piece.

55:02So I, you know, we would have to resource it.

55:06Uniquely.

55:13It did.

55:14So as I mentioned, it was raised in discussion at council and discussions about the culture plan

55:21with in relationships, well, 200.

55:25Well, 200 is coming in like a free trade.

55:32So a couple of questions for Dawn.

55:36Is there, I am fully expecting because of the resourcing issues that we would not be able to

55:45resolve the entire clock scenario by 2027.

55:51Like this is a longer length, likely a longer length.

55:54Like option one, are you saying?

55:55No, I think we've ruled out, if I'm hearing too many, we've ruled out option one, I think.

56:01Yeah.

56:02Yeah.

56:02So we could potentially acquire, if there's multiple faceplates, for instance,

56:14we could bring to the collections committee a proposal that we acquire whatever pieces

56:23would be just as well.

56:24Oh, so that, yeah.

56:25So we could actually do that for 2027.

56:31I think so.

56:32Yes.

56:32And there would be some conservation work required to do that, but I think we could find the resources.

56:38And I'm wondering if there could be like potentially a temporary public display of like a

56:46base plate at Sydney Hall or at a civic space as kind of a temporary measure while we work

56:54out the rest of the stuff.

56:56Could do that.

56:57Yeah, like the faceplates are the most displayable components.

57:00Yeah.

57:01They're not terribly interesting as an object.

57:04I'm just going to say it.

57:05Yeah, yeah.

57:06Like they're just, you know, a circle.

57:06Don't hesitate.

57:08You know, I mean, I think when we picture clock, we picture the architecture around the clock,

57:13right, so the face plane is like, you know, like, yeah.

57:17So we would want to give some care about, you know, how we're displaying it.

57:21And there would be like still investment, but relatively modest.

57:25I think we could accommodate that.

57:29Yeah.

57:30So just kind of as a temporary measure to address the link to Guelph 200 while we work out

57:40the rest of the plan for that.

57:43I think the other urgent thing, if we're going to do anything with this, is the creating and

57:48moving and storing of it somewhere where it isn't currently.

57:52Because it is a context in an exposed loft area above basically effectively a garage that

58:02is used for treatment, like a mechanical, what's the word?

58:06It's like a garage.

58:07It's like a fleet trucks and things like that that come in and get worked on.

58:13And it's just not in a good place at present.

58:19And it can't stay there.

58:20So I think in addition to like, as soon as we start to move some parts,

58:24we need to move all of that out of that location to another site.

58:28So there is additional costs for creating transport and then storage.

58:34And we don't have space in the museum for this.

58:37It has to be a storage slash workspace where should we consult an expert who would then

58:43be commissioned to do a treatment on any part of it, they would have to have space to do that.

58:48So it's not a small, like a suit you crack it open, it's kind of like an onion, right?

58:54And so maybe it isn't a long lens project then.

58:58Maybe we do need to do the consultation for sure.

59:01And these are really like excellent suggestions that we can do.

59:05But if we are going to move it, I don't think we want to just move it from its current location

59:11into another storage space where it stays for another 50 years.

59:17I think we do want an end game plan.

59:20And the low hanging fruit is, the heritage collection, a represented

59:25selection of material that gets preserved in the heritage collection.

59:29And then some sort of public display, which could look like a public space or maybe

59:36in the museum somewhere where we can tell the larger story about the clock itself,

59:43the city hall, what it meant to the community,

59:49like something along those lines.

59:51And that, but that still means that we're like, those are the operational pieces that we can

59:56probably do for 2027. But front-ending the creating transport and storage

1:00:05pieces of what's there currently so that we can do that other work.

1:00:10It is there a city space where it can be housed?

1:00:14Do you have something in mind?

1:00:15Haven't found something yet.

1:00:19It is in a city space now, but as Dawn says, it's not adequate, right?

1:00:22And so, yeah.

1:00:24Yeah, it's in a city space.

1:00:25Yeah, I just don't get it.

1:00:27If you had something in mind, if there was a place to put it,

1:00:31I don't have a ready answer to that question.

1:00:34Yeah.

1:00:34Yeah.

1:00:35Wherever it is needs to have a water source

1:00:40because there will be some treatment needed.

1:00:42So there will need to be some sort of water source.

1:00:47And I don't know about ventilation, but even a storage area that could be opened to

1:00:52the open air would be ventilation.

1:00:55And that would be, yeah.

1:00:56Yeah.

1:01:01So maybe what I might suggest is that we have some with the recommendations,

1:01:05I think that you're going to bring forward.

1:01:07We have some work to do in terms of engaging with some consultation and get some costing.

1:01:15Get some costing.

1:01:16Cost of a piece of those.

1:01:17Yeah, I've heard you're discussing.

1:01:18Yeah.

1:01:19Yeah.

1:01:20And then maybe bring a plan forward to the Arts and Culture Advisory,

1:01:29a recommendation forward to the Arts and Culture Advisory Committee

1:01:34once it's free and stated since our last meeting of this committee will be in July.

1:01:40So in terms of timing, Don, would that be like, say January of 2027?

1:01:45Yeah.

1:01:46Yeah.

1:01:49It's not going to change dramatically from current states.

1:01:54Yeah.

1:01:55The staff won't.

1:01:55Sure.

1:01:56The staff got to do plan.

1:01:57Yeah.

1:01:58Yeah.

1:01:58Staff out.

1:01:59Yeah.

1:01:59Yeah.

1:02:01I would think though that within the year of 2027, we will want to resolve it.

1:02:08So it was, yeah.

1:02:09Yeah.

1:02:09Yeah.

1:02:10Okay.

1:02:11I think the fleet, I just want to.

1:02:13The fleet.

1:02:14Yeah.

1:02:25Stop sharing.

1:02:36For you, Chair.

1:02:37As with the last motion, I've attempted to capture your comments.

1:02:42If there's any edits or if there's anything I captured incorrectly, please let me know.

1:02:46Would you like me to read that one?

1:02:48Yeah.

1:02:48That's great.

1:02:49Sure.

1:02:50The motion is that the Arts and Culture Advisory Committee provide the following comments for

1:02:55staff's consideration regarding the City Hall Clock Preservation.

1:03:00That staff evaluate the current state of the clock and consult with a clock expert prior

1:03:05to selecting a preservation strategy so they can determine if focus should be placed on art or

1:03:11heritage. That staff research the maker of the clock in its historical and technical value,

1:03:18that the ACAC support options two, three, and four, that, I should say the AC, that the ACAC

1:03:28does not support options five or six, and that the ACAC does not support option one

1:03:34as resources used to restore the clock could be better allocated elsewhere.

1:03:43I might just add that to acknowledge that option six, which is disposition, that

1:03:52some of the pieces, it's acknowledged that some of the pieces will likely be disposed of.

1:04:07So maybe that the ACAC does not support option five or six, but acknowledges that some components

1:04:18may be disposed of.

1:04:20Okay.

1:04:22Through you, Chair, Amy, that's a great comment. However, it would have to come from a member

1:04:28for it to be optioned.

1:04:29Yep.

1:04:31So I'll pass that one.

1:04:32One, two, three.

1:04:32That's our city center.

1:04:35But some elements,

1:04:43elements,

1:04:44some elements need to be disposed.

1:05:07Just wondering with the first bullet point, I just don't think it needs to be so definitive

1:05:12whether it's art or heritage, but so they can determine focus relative to art versus heritage.

1:05:35Pico, if determined focus relative to art and heritage, sorry.

1:05:45This is quite cool.

1:06:06Any other feedback or concerns about the bullet points?

1:06:17I'm sure that the

1:06:20committees

1:06:22feelings about the creating, storing, moving question, like what

1:06:28mood advice do I have to give, but they're just keeping in mind that that would have to be done

1:06:33regardless of, you know, whether what course of action is taken.

1:06:47It does are operational components of what we're discussing, but they do have financial implications.

1:06:53So

1:06:56just like seeking, we discussed about like seeking costing on those things, like

1:07:01what would it cost to create it, to store it, to move it?

1:07:05Yeah, the cost, it'll always come up.

1:07:07So that's why I thought so.

1:07:09So like costing is always

1:07:14what we'll consider the cost of the kitchen or whatever out.

1:07:17Yeah.

1:07:18When we say something nice things here and sales or what to do, you know, the day

1:07:24it all falls back on how affordable, how

1:07:29well able to afford it.

1:07:30So I think it's fine by me.

1:07:36Robert Shumpo, you think I'm okay with this?

1:07:50I am.

1:07:52I think I saw a thumbs up.

1:07:54I'm sorry.

1:07:54So, I think so.

1:07:56And okay, so

1:08:02the recommendation is that the Arts and Culture Advisory Committee

1:08:06receive the staff report titled City Hall Clock Reservation

1:08:10dated April 23, 2026.

1:08:12And that the Arts and Culture Advisory Committee provide the following comments for staff

1:08:16consideration regarding the City Hall Clock Reservation, as you can see up on the screen.

1:08:22So do I have a mover and a seconder?

1:08:26Maybe.

1:08:27Let me see.

1:08:27Want you to take over.

1:08:30I'll assume in favor.

1:08:31So any opposed?

1:08:34No.

1:08:34Okay.

1:08:35That carries.

1:08:37So we'll move on to the last item, which is the

1:08:40The Welfth Museum and Culture Restricted Plan.

1:08:43So I believe this is an update from the last meeting

1:08:47where we, it was discussed and as Tammy, you guys got it correct.

1:08:52In attendance, I just need to talk to you.

1:08:55So tonight we're actually asking you to recommend

1:09:11approval or to give suggestions, but

1:09:17we require approval of our strategic plan.

1:09:23Oh, there we go.

1:09:25In order to apply for a community museum operating grant at the end of June.

1:09:29So we are looking for some direction and then approval of this plan.

1:09:35So as we discussed at a previous meeting,

1:09:41it was desirable that instead of creating a whole new strategic plan, because so much of

1:09:47our existing plan was relevant and we still had work to do that a refresh would be the

1:09:53appropriate course of action.

1:09:55So this is a draft of the plan that reflects on it.

1:09:59The name of the plan has been updated to reflection to reflection to action,

1:10:05reconciling the past, reimagining the future, and it will be the strategic operating plan

1:10:10that guides Welfth Museums and Culture from this year through 2030.

1:10:16And we will go through all of the elements.

1:10:22So as you know, it is inspired by the Welfth community plan,

1:10:26as well as the City of Welfth Future Welfth Strategic Plan.

1:10:33And then at your suggestion, I added in the Culture Plan,

1:10:39Mission and Strategic Themes, which were developed after our strategic plan was created.

1:10:49And the Culture Plan is advising and informing our refreshed strategic plan of moving forward.

1:10:59We did talk about a number of influences, and I should say that following the meeting of

1:11:06this committee and the staff had a meeting and also discussed this plan.

1:11:11So their input is also included in this.

1:11:13So some of the highlights in terms of influences we took out COVID, we heard you,

1:11:19that COVID should not be impacting us.

1:11:23And the way it was when we initially developed this plan,

1:11:26there was also recognition that we are in a time of polycrisis, multiple crises,

1:11:31all coming together at once, and that that is having an impact on our world and on the work

1:11:38that we do. A generative by AI was because it is such a current influence, was added as an influence.

1:11:48Dadar sovereignty was also added as an influence.

1:11:53The Canadian resilience movement, the Al-Wazat movement was added as well.

1:11:58So those are the influences.

1:12:01And then there are a number of influences that have continued from the beginning of this plan

1:12:07that continue to be forces.

1:12:10We did update the mandate based on this discussion we had at this table as well with the staff.

1:12:16So there was suggestion that we needed to indicate both the past, present, and future

1:12:25bokeh of the work that we do.

1:12:28And so the first line was added, reflect on the past and illuminate the present to inspire

1:12:36the future that represents, that was to represent our areas of focus, past, present, and future.

1:12:48The line provide inclusive, accessible, interactive, and lightning experiences

1:12:54was altered to add for and with the community, recognizing that

1:12:59and a lot of the work that we're doing, we're co-creating with the community.

1:13:02We added the line foster community connections and cohesion as core to our mandate.

1:13:12And we altered a line, changed it to uphold truth,

1:13:17contributing to reconciliation and healing, recognizing that there are multiple truths.

1:13:25And so our role is done.

1:13:28So I'll just maybe pause there and

1:13:35check to see if that meets the, that's in 12, any, or should I say are there any concerns?

1:14:12Okay, my thoughts, right?

1:14:16This looks good. I'm thinking of, I feel like more and more, I just keep thinking of how

1:14:22we'll continue to make this department relevant in the bigger picture.

1:14:30And I want to tie this a little bit to just the idea that I had suggested some time ago.

1:14:35Is there a way we can find ways to have, you know, contribute to the economic activities?

1:14:44Just something that has an economic impact.

1:14:48Because I feel like as either a business, there's always the monetary part of things.

1:14:58And if we continue to remain a department that continues to just take money,

1:15:05spend money, and doesn't generate money, we might from time to time be faced with the challenges

1:15:14of justifying and justifying. So I'm just thinking, is there a way we can have

1:15:21what's up in Louisiana that exists to support economic national?

1:15:33Why thinking so far? Yeah, well, these are just thoughts that I've been having.

1:15:39I don't know how else to put it. But my concerns are just how, because looking at every,

1:15:45at the point, reflecting the internet presents for the future, good, collective, protected.

1:15:51So I just feel like in all of this, foster community connections and cohesion, well, those will

1:16:03indirectly contribute to economic growth for sure. Maybe we don't have to put it out there.

1:16:09But I just feel like if there are ways we can continue to make this economically relevant

1:16:19department in positions, departments for men. Yeah.

1:16:31Well, I have something to add to that. I think that partly through the grant process and the public

1:16:42process and so on, there's certainly a tangential contribution to

1:16:50the cultural economy within the city. But I think that I really believe that things like

1:17:00education, arts and culture are not necessarily, they're not businesses. They are for strengthening

1:17:09the fabric of the community upon which the community can create this situation where

1:17:20there's a vibrant economy. And so I hesitate to look for money making opportunities in an

1:17:34organization such as this. I look more towards creating that foundation for a community that

1:17:42can be resilient and that can attract those in the money making business, because I want to be here

1:17:53because we have this vibrant community. Yeah, 100% I agree with you. Community resilience,

1:18:03support system. My thoughts are really just with the people that make the decisions.

1:18:11You know, if we have people like you in the head of his where they make the decisions of

1:18:17what goes into the department, that would be fantastic. But I'm just these days,

1:18:24because I feel like the more so I always say that I come from a country that has experienced

1:18:33economic troubles. And I know what it looks like when it shows up. And I know the departments that

1:18:42suffer when it takes off. And I know that usually departments like gets the force hit, you know,

1:18:55if there are no ways to justify why we continue to support you, what do you do? We got those big

1:19:01drums. Give a drum out, we'll find we'll do two drums. Next time one drum is okay. They just stop

1:19:08the drums, you know, but until we're able to sell a bit of my drums, and then this guy paid to listen

1:19:17to my drumming, I'm just thinking, but these all of these points look great to me. I'm just trying

1:19:24to find ways of continuing to have the economic relevance. Maybe I'm big to business minded now,

1:19:33but I know money makes the world go round. Unfortunately, but money money money.

1:19:45There might be an opportunity and foster community connections and cohesion to add resilience

1:19:51and vitality or something like that. Something like that. Yeah, yeah, the speech. If you were

1:19:57going to make that recommendation. I did make it. It's important to include the terminology

1:20:05creative economy in in this intention. Because we, museums and culture does contribute to the

1:20:15creative economy. We pay artist fees, we pay. We're like, you know, it's not free to operate a museum

1:20:23or to operate a cultural department, but we invest that in the economy. So there are people who are

1:20:31benefiting, native professionals who are benefiting from the work of museums and culture. In addition

1:20:38to all of these other priorities, right? And as an off loan, museum is not for profit. So

1:20:47we have some limitation in terms of how we can have like what our revenue looks like and how

1:20:54we're not a for profit organization. That's how we're designed. And so that is a challenge,

1:21:00but it doesn't mean that we don't invest. Yeah, that we're not important contributors to the

1:21:06trust me, I know. I wonder about the language what needs to be in there. I like that word.

1:21:12And I think that that could really could certainly fit in there. Some way of saying

1:21:20that exists to support the creative economy as a community or

1:21:33in terms of

1:21:50Does that address your

1:21:55Yeah, you I yeah, it does. Even this looks good enough. It's just a part of me that thinks about

1:22:01that. So in a little addition to just

1:22:05makes it more appealing in that sense is good. Everything looks good. I just wanted to have

1:22:13a little bit of that because

1:22:16It's an excellent point, Banji, because the culture plan certainly talks about

1:22:21contribution to economic fatality, resilience, supporting the creative economy. So it's a good

1:22:29recommendation to ensure the strength and the fabric of the community through

1:22:38contributing to the creative economy or something through

1:22:50All right, so strategic directions. The direction that is highlighted was

1:22:58we use the word represent the full and truthful stories of our community. If I remember it

1:23:05correctly. And we talked about an alternate to that word that wasn't

1:23:13represent because in some cases we

1:23:18don't. Well, it's not our story to represent. Anyway, I think the point of it was that we

1:23:25wanted to ensure that we are embracing or encompassing the multitude of stories of our

1:23:31community from perspectives as plentiful and diverse as the community itself and amplify

1:23:37underrepresented voices. And so we took out words like traditionally underrepresented voices

1:23:43recognizing that there are still and will be as we move forward underrepresented voices that we

1:23:48need to be considering. So worked with the word embrace, worked with the word encompassed

1:24:02and looking for some good facts. Yeah, it's like let's welcome it in.

1:24:24So we had an embrace and was there an? We had represents. Yeah. Well, embrace. Well, yeah,

1:24:31it's warmer. It's more. Okay, you're welcome. Right. Yes. No.

1:24:47Are you toggled forward, Tammy? I just wanted to, um, per our last discussion or discussion on the

1:24:54last side under grow. It does say boost economic impact. Okay. And I just, I just

1:25:01revisited that section there. So if there's a with your recommendation on the earlier wording,

1:25:07kind of like reflection of that and that and that. Right. Really stupide observe. Yeah.

1:25:13So yeah, it's gonna impact through culture, between tour, press person, perfect. Yeah.

1:25:20So I think it was a big topic. I think last time we discussed the economic.

1:25:30So, uh, the goals, how we're going to achieve those directions. Uh, one,

1:25:37to ban these point balance, operational sustainability and portability. So we are talking

1:25:42about economic forces. Um, objectives include develop and implement a revenue development

1:25:51strategy that increases grants, sponsorships and donations to reduce financial barriers

1:25:56to access for community, assess current budget allocations and identify opportunities for

1:26:02efficiencies and increased impact, advance case for adequate resourcing for Guelph museums and

1:26:09culture plans, which a 30 and assess and adjust work plans based on pace and capacity of staff,

1:26:16volunteers and culture sector. So the check in with you is does balance, operational sustainability

1:26:26and portability seem like a reasonable all. And do those objectives. Right.

1:26:44Adaptable number two is practice and model environmental sustainability. This was a goal

1:26:50carried over from the previous plan. So identify baseline and opportunities for improvement in

1:26:57sustainable practices in the areas of waste and materials, energy and social sustainability,

1:27:03implement sustainable changes, complete age back upgrades at Pacific Museum.

1:27:09And, um, model and communicate best practices to the community once we have implemented them

1:27:17ourselves. So, and this applies, I should note, this applies to museums and culture. So in the

1:27:26culture plan, there were things like, um, you know, at culture festivals, uh, reusable cutlery.

1:27:37Yeah. So those types of activities were built in that. So know that this is applying across the

1:27:43board, that PCM is that in the cultural role and objectives. Okay. Yeah.

1:27:53Innovate goal number one, increase access through digitalization. So this is a carryover

1:27:59from the old plan with some updated objectives, the first being complete development and

1:28:05initiate implementation of digital strategy, launch digital culture hub, develop and implement

1:28:11social media strategy that is dynamic and embodies the values and personality of the

1:28:16organizations and the community and offer engaging digital access to museum and culture

1:28:22programs and exhibitions. And the goal number two is commemorate Gwelf 200 by

1:28:34actioning reconciliation with indigenous peoples and legacy initiatives that contribute to future

1:28:40community wellness. The objectives are to work with community working group to develop and

1:28:45implement commemoration commemorative activities that advance reconciliation of wellness and support

1:28:51community partners to undertake community driven activities that embrace reconciliation.

1:29:02Embrace goal number one is decolonize and recenter spaces and practices. This is carried over

1:29:08continued from the previous plan, maintain meaningful engagement with indigenous elders

1:29:13and knowledge keepers and community members, extend learning opportunities rooted in

1:29:20Majine Yenma, which is the exhibition at the Civil Museum until February 2027.

1:29:28Center indigenous history and present day knowledge in the new permanent exhibitions at

1:29:33the civic museum and work with indigenous community to revitalize national indigenous

1:29:38people's state. I might actually change that to national indigenous history.

1:29:49I'll keep going and pause and just show that. Embrace goal number two, engage audiences,

1:29:57supporters and community partners that reflect the diversity of Gwelf. So there was a lot of

1:30:02conversation as you'll recall that we had diversified collections, diversified programming,

1:30:09and through discussions here and at the staff, it seemed that we should be focusing on engaging

1:30:17the diversity of audiences that represent Gwelf rather than the activities and that does have

1:30:22an impact of activities, but the focus should be on the people, right? So the objectives are to

1:30:29identify gaps in representation and engagement, which is an ongoing activity and to build

1:30:35relationships with equity-deserving communities with intent to increase representation and

1:30:40engagement. That's a huge change in the traditional model. It's yeah, rather than we create this for

1:30:49you and we go to you and create it. That's such a great change. And then carrying on with that

1:31:05additional objectives include increased programming designed for youth 12 to 18 years old

1:31:11and develop partnerships with newcomer and ESL organizations, software programming,

1:31:15which supports sediment and language acquisition. And those are carryovers from that.

1:31:22But still in our conversations with you and staff, that still recognizes important.

1:31:33And that goal number one is implement the Gwelf culture plan. So assess and report on progress

1:31:38of the culture plan 2030 and revise the work plan by the end of this year and advance culture

1:31:44inventory and mapping. And that was one piece that isn't represented in the other objectives

1:31:54that are in this plan. And so that's why I pulled it out specifically to this

1:32:03connect. Goal number two is elevate the museums and culture brand. So revise our current branding

1:32:08to reflect museums and culture. Establish new museums and culture website as part of the new

1:32:15digital culture hub and align collections management practices again across all collections.

1:32:22Some which are formal and some which are informal, but the Civic Museum Heritage Collection,

1:32:27McCrea House Heritage Collection, Public Art Collection. And then there's a whole bunch of

1:32:31civic art that is currently recognized as part of public art, but it's not really public art.

1:32:37So we need to kind of rationalize all of our collections and then align our collections

1:32:43management practices. Goal number one is to increase participation. So introduce new

1:32:53programming at the Civic Museum, Market Square and in neighborhoods across the city.

1:32:58Pilot extended evening hours at Gwelf Civic Museum and Public Art Programming.

1:33:03Implement new museum membership initiatives. Implement robust communication plan for museums

1:33:09and culture programming and consistently track in person and online attendance and participation.

1:33:19Goal number two is to establish a public art operations plan. So develop and initiate implementation

1:33:27of the operations plan. And then that is it in terms of the goals and objectives. And then these

1:33:39will inform our individual plans of the tasks. Relation those will go on staff.

1:33:46And then significant dates to be aware of the Bicentennials in 2027. The 15th anniversary of the

1:33:56new Civic Museum. Of the 15 year old Civic Museum is next February. And then the 250th anniversary

1:34:06of John Galt's birth is in 2029. And then evaluation strategies pretty much aligned to how we

1:34:22evaluated the former plan. So that you know we have metrics that we have been collecting so we

1:34:28can see changes over time. So good. Well thank you for the work that we all did.

1:35:05Yes. Through you chair. There were a couple comments for this regarding economic impact.

1:35:15As there's a lot of discussion I didn't quite capture the comments but I will

1:35:19display what I have in the workshop as you see fit. So the recommendation is as follows.

1:36:02That the Arts and Culture Advisory Committee provide the following recommendations regarding the

1:36:07Guelph Museums and Culture Strategy Plan. The first point discussed was that staff explore ways to have

1:36:14the Guelph Museums be economically relevant. And the second one was that the mandate be revised

1:36:22to state that Guelph Museums and Culture exists to foster community connections, cohesion,

1:36:30resilience and vitality, support the creative economy. Yeah. Good. Okay. Okay. So the recommendation

1:36:50is that the Arts and Culture Advisory Committee receive the staff report titled Guelph Museums and

1:36:55Culture Strategy Plan dated March 26, 29th. And that the Arts and Culture Advisory Committee

1:37:02support the Guelph Museums and Culture Restrictions Plan 2026-2030. And with the recommendations

1:37:10up on the screen. So do we have a mover and a seconder?

1:37:14I'm a lot of action. I'm a shaker. I'll assume all in favor. So any close? No? Okay.

1:37:34So that carries and that was the last discussion. We'll move on to chair staff announcements. I

1:37:43have any, I don't know, staff announcements they'd like to raise. So with that, we will

1:37:49I will pose. No, actually there is. And they carried over. There are a couple of public art

1:37:57projects that this came before this committee and we should give you an update. I was going to ask

1:38:06paperback, quick sis. Oh, that can be one of them. So it wasn't the one I was looking at.

1:38:15Police headquarters project. I don't think we've given an update on that. So police

1:38:20headquarters project, we had developed the call to artists. We were working in partnership. It was

1:38:26a group together that included well police services. Well police services asked to pause the project

1:38:33before we sent them the call to artists for because they had some considerations on their end

1:38:39with the public services board. We have followed up with them. They don't have enough date for us

1:38:44yet. And so that project is on pause until we hear that from well police services. So

1:38:53the art IRL project, which was approved, I think the last time we met, it was determined that it

1:39:02would be better if we worked with Guelph Arts Council to deliver that program. And so our team,

1:39:11as you know, did a beautiful job conceptualizing that program and you contributed so much to the

1:39:18development of that. We have a good relationship with Guelph Arts Council reached out to them

1:39:24to see if they would be willing to be the delivery partner on that. They agreed. And so that project,

1:39:30that call to artists has been launched now. And Jeanette, can you remind that Jeanette has

1:39:38the most art? What's the timeline for? The timeline is June 8th for the calls for submissions,

1:39:45expressions of interest, so just first stage submissions. Yeah. So Guelph Arts Council will

1:39:54will manage the selection process. And Jeanette is working mostly with them to support them.

1:40:03So so that program will be delivered as intended during the culminating project, Genric Culture

1:40:12Days. And then there are a number of public art proposals that have been discussed. So the Paper

1:40:20Being Princess project is there is still a community group mobilizing around that. And so we are

1:40:28still in discussion with them on that. We were also we are also in discussion with both the Guelph,

1:40:35the Friends of Guelph Library, about their initiative that was a bunch aligned initiative

1:40:42when we originally spoke to them, but I think is broadening in its scope. And then we are also

1:40:50in touch with the Guelph Public Library that is considering a public art project to celebrate

1:40:57the opening of the new library. And you will be excited to know that at the next meeting,

1:41:03both of those projects, a public art proposed project from the Friends of the Library and the

1:41:09library will be coming to you for consideration. Does that cover all of the

1:41:17other projects? Yeah. So we did have to announce the next.

1:41:24Yeah. Okay. So with that, I'll propose that we adjourn the meeting at 6.46 p.m.

1:41:34Yeah. So I need a mover and a seconder for that.

1:41:46So I'm assuming they were any folks. No. All right. So we'll end there. And then the next

1:41:54meeting is June 25th, which is the second for Penelope meeting. Thank you. Thank you. Sorry, guys.

1:42:08Okay. H&M is important.

1:42:20Yeah, no, that's great. Thank you.

1:42:24So glad we got it out on the end.