��ࡱ�>�� ������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������q` ��o�bjbjqPqP .�::o���������������JJJJ^`P�vvvvvvvv�O�O�O�O�O�O�O$LQh�StP�#9vv#9#9P��vvP5O5O5O#9��v�v�O5O#9�O5O5O��5Ovj��XCe�J�@�5O�O0P0`P5O(TKId(T5O5O^(T��OLvJ� 5O�$t D/� vvvPP�L�vvv`P#9#9#9#9��������������� �MR. HELMS:� � Good morning.� � � � 2� � � � � � � (Response.)� � � � 3� � � � � � � MR. HELMS:� � Welcome to this part of the� � � � 4� � conference, Arts and Humanities.� Basically what we are� � � � 5� � going to do is I am going to give an introduction on what� � � � 6� � I did in Curacao.� I want to share this experience we had� � � � 7� � over there.� We started ten years ago.� But first I want� � � � 8� � to introduce myself and my panel.� What we are going to� � � � 9� � do, what I told you I am going to do the introduction and� � � � 10� � we are all going to do a little bit introduction on our� � � � 11� � experience to share with you, and then when we finish� � � � 12� � with that, we will ask you for questions.� So basically� � � � 13� � that's what we are going to start with.� � � � 14� � � � � First, I am going to introduce you to Mr. Wayne� � � � 15� � James, Mr. Petersen, and Mrs. Mahoney.� Later on they� � � � 16� � will introduce themselves a little bit better.� This is� � � � 17� � also the first time I met them.� Mr. James, I met him� � � � 18� � before many times in Curacao.� � � � 19� � � � � My name is Leo Helms.� I am the architect/designer,� � � � 20� � and six years also the director of the museum Kura� � � � 21� � Hulanda in Curacao.� And, basically, what I want to tell� � � � 22� � you is what you are going to see, I have DVD with me� � � � 23� � where you can see how we build up this whole� � � � 24� � neighborhood, and this neighborhood is called Otrabanda.� � � � 2� � Otrabanda means the other side.� � � � 3� � � � � This started as a protestant neighborhood, and in� � � � 4� � around the '30s, '40s, most of the people who used to� � � � 5� � live there was most of them they were rich merchants, and� � � � 6� � finally they left the whole neighborhood because of the� � � � 7� � maintenance of the buildings.� So, finally, in the '60s,� � � � 8� � '70s it was really, really bad situation over there, and � � � � 9� � that's how we found this whole neighborhood.� That was ten� � � � 10� � years ago.� That was when Mr. Jacob Gelt Dekker, he is� � � � 11� � the owner of the whole property, when he came to the� � � � 12� � island, he was there to visit some of his friends over� � � � 13� � there, and finally he fell in love with the island, so he� � � � 14� � began to look around if he could find a house or to build� � � � 15� � a house for himself when he was on the island; so,� � � � 16� � finally, he ended up in Otrabanda.� � � � 17� � � � � In that period this was a no-go area.� It was� � � � 18� � really, really dangerous over there.� When there were� � � � 19� � tourists on the island, all the hotels and hotel� � � � 20� � operators told the people, please don't go there because� � � � 21� � it's very, very dangerous.� � � � 22� � � � � Mr. Dekker had a vision.� He had an idea, well,� � � � 23� � we can do something over there.� So what we started is we� � � � 24� � started to restore his house, the mansion.� That was one of� � � � 25� � the biggest houses in the whole neighborhood.� It is 28� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4� � � � 1� � blocks, but it was an organic thing.� It was not an� � � � 2� � effort; it was the whole intention to have a big area over there� � � � 3� � like we have now.� So we started with the restoration of� � � � 4� � the mansion, and during that restoration, it was the� � � � 5� � restoring for two years.� � � � 6� � � � � During that restoration we discovered in the history� � � � 7� � books that were the place where slaves arrived when they� � � � 8� � came to Curacao.� So from that moment we decided, okay, if� � � � 9� � this is such a historical place, we have to make museum� � � � 10� � over there.� So we started with the museum.� There was no� � � � 11� � collection; there was nothing.� So I stayed there as the� � � � 12� � architect, and Mr. Dekker went into the world to� � � � 13� � purchase all this documents and all this objects and� � � � 14� � artifacts we have now.� � � � 15� � � � � We did that only in nine months to build up the� � � � 16� � whole museum, his house, because the museum is also part� � � � 17� � of his house.� And we did it only in nine months, and it� � � � 18� � was so important for us, because this was the anchor.� � � � 19� � That's what we always say, you have to put an anchor to� � � � 20� � start with, and that's also one of our small things we� � � � 21� � always say, think big but start small, because start. � If� � � � 22� � you only keep big thinking, nothing will happen.� And� � � � 23� � that's what you see on almost most all the islands here,� � � � 24� � the plans are so big and there is no money.� Of course,� � � � 25� � there is no money, and even in this case, okay, this� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5� � � � 1� � whole project was financed by private money, but then you� � � � 2� � have to show the people that you are really willing to do� � � � 3� � something.� So start small and keep big thinking.� � � � 4� � � � � We had the mansion, and we had the museum.� The� � � � 5� � moment we had this collection in the museum, people� � � � 6� � started to talk about in museums and universities all over� � � � 7� � the world, because we have a very special collection now.� � � � 8� � We can say we are the biggest museum on slavery in the� � � � 9� � world, and the biggest museum on African art here in the� � � � 10� � Caribbean.� So that's something really special.� � � � 11� � � � � So people started to talk about it.� We have the idea� � � � 12� � if there is so much interest in what we are doing here in� � � � 13� � this subject, we have to do a little bit more.� The whole� � � � 14� � idea became to make a conference center, to organize� � � � 15� � seminars, conference and things like that to bring people� � � � 16� � to the island.� � � � 17� � � � � So we started to build a conference center.� That's� � � � 18� � totally newly built.� There was nothing there on the spot,� � � � 19� � and so we built totally new.� Halfway through the building of the conference� � � � 20� � center, we decided if there are so many people interested,� � � � 21� � also we have to make something like an institute.� That� � � � 22� � was a restoration.� We could buy a huge building, and� � � � 23� � that was also restoration for two years, and that's where� � � � 24� � we put the architect institute with the idea to bring� � � � 25� � students and other people from all over the world to� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6� � � � 1� � Curacao and also the way of tourism.� � � � 2� � � � � And then became the idea okay when we almost finish� � � � 3� � with the institute, we have people coming all over for� � � � 4� � conferences, we have people coming, students coming over� � � � 5� � for the institute, so we need a hotel.� And at that� � � � 6� � moment we had the possibility there was a small hotel� � � � 7� � next to us, and that went bankrupt so we could buy that,� � � � 8� � plus we still had this whole neighborhood that was only� � � � 9� � ruins.� It was in very, very bad condition.� So we started� � � � 10� � to buy that also, block by block, and that way we cleaned� � � � 11� � up this whole neighborhood and we made it from nothing� � � � 12� � into something.� Because now we really have� � � � 13� � something, and it's really what people are saying now� � � � 14� � what is said by tourists if you had been on Curacao, you� � � � 15� � didn't see Curacao, you didn't see Curacao.� So that's� � � � 16� � really making something out of nothing.� � � � 17� � � � � That's what you basically will see on the DVD, how� � � � 18� � this whole transformation from a ghetto, because it was� � � � 19� � very, very dangerous.� We had many times we had guns on� � � � 20� � our head, we had knives on our throat, and now this whole� � � � 21� � neighborhood is totally, totally clean.� Again, what we� � � � 22� � did, we made an anchor, we put an anchor over there,� � � � 23� � because now that's something we hope that should happen� � � � 24� � is that what you see in the whole neighborhood that there� � � � 25� � are more and more people that are going to restore their� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7� � � � 1� � houses; the streets are clean.� There are now what we� � � � 2� � call in Curacao no jollers (phonetic) on the street, no� � � � 3� � junkies on the street anymore.� � � � 4� � � � � Also, in the shopping street, we see that the people� � � � 5� � are selling much, much better quality articles.� This� � � � 6� � whole neighborhood is growing, and what you see even now,� � � � 7� � because next to us they also started with a new hotel,� � � � 8� � and also a little bit further on the old reef, this also� � � � 9� � we are going to have new hotel, 250 rooms.� So you see step� � � � 10� � by step that this whole neighborhood is becoming one of� � � � 11� � the spots where you have to be in relation with what I� � � � 12� � told you, ten years ago you shouldn't be there, and now� � � � 13� � it is a place to be.� That's one of the things I really� � � � 14� � want to show you here.� � � � 15� � � � � It's a little bit what was told a while ago for the� � � � 16� � next history that's worldwide.� That's also in a� � � � 17� � nutshell, that's also what we did in Curacao.� It's not� � � � 18� � only that we restore the buildings, because we have a� � � � 19� � hotel.� What you will see is in all these buildings is� � � � 20� � what you will see is where people used to live but that's� � � � 21� � now hotel rooms, and it's in the center of the old city,� � � � 22� � historical city of Willemstad, Curacao.� And it's not� � � � 23� � only a hotel, but also we have three restaurants in it;� � � � 24� � we have two swimming pools in it; we have three bars in� � � � 25� � it; we have galleries in it; we have shops in it.� It's� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8� � � � 1� � like a little village and how we call -- like we call it� � � � 2� � it's an experience, and that's what we call for whole� � � � 3� � Curacao, Curacao is an experience.� And I think that's� � � � 4� � one of the most important things, thinking about tourism.� � � � 5� � And now I go a little bit more into the subject, because� � � � 6� � it's tourism and art and entertainment and that's also� � � � 7� � what we do there.� � � � 8� � � � � Besides we have the museum, for the museum -- we� � � � 9� � started the museum, number one, for education.� What we� � � � 10� � saw when we came on the island, most of the children on� � � � 11� � the schools they knew exactly where Amsterdam is, but� � � � 12� � Africa they never heard of it.� That was also one of the� � � � 13� � reasons we have a huge collection of African art in� � � � 14� � museum to show the people, to show the children, look,� � � � 15� � because there is the big shame on the island.� People on� � � � 16� � the island they feel shame about slavery and feel shamed� � � � 17� � about they are from Africa.� � � � 18� � � � � What I saw here yesterday evening, I was so amazed� � � � 19� � to see that there are so many people so closely� � � � 20� � linked to Africa, to all the nice African dresses.� � � � 21� � That's what we hope also that would happen in Curacao.� � � � 22� � You don't see that in the streets.� You don't.� � � � 23� � � � � I have some pictures in the museum that you can see� � � � 24� � the nice dreadlocks and the nice things in the hair.� I� � � � 25� � always tell them that's also part of your culture and� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9� � � � 1� � that's also part of what you see in Africa.� So that's� � � � 2� � one of the reasons we put museum over there.� � � � 3� � � � � I made five years ago an education program for all� � � � 4� � the schools in Curacao, and we give them free to them� � � � 5� � because then they also could learn and they could come to� � � � 6� � the museum.� First they start with this project in the� � � � 7� � schools, then they come to the museum, we gave them a� � � � 8� � tour, and from there they finished that kind of project.� � � � 9� � � � � That's also what I do on the school holidays, I have� � � � 10� � a special program, what we call the children activities.� � � � 11� � That's every day I have 100 to 150 children in the museum� � � � 12� � and we do all different kind of projects with them, all� � � � 13� � related to the museum.� Because what I always say, the� � � � 14� � museum is like a buffet you can get, each visit you can� � � � 15� � take something from this table from what is in the museum.� I� � � � 16� � have 150 children every day, and they have a meal over� � � � 17� � there and it's educational and recreational because it's� � � � 18� � very important for us.� � � � 19� � � � � It's also difficult for us because it's not only for� � � � 20� � the tourists that we do this, but also if this whole� � � � 21� � thing, this whole history, this not bedded in the� � � � 22� � people's mind, in the local people, if they don't push� � � � 23� � this around and if they are not aware of their own� � � � 24� � history, then it's so difficult to bring out this� � � � 25� � history, also for tourism.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 10� � � � 1� � � � � So that's one of the reasons that I also got� � � � 2� � the local people in.� I organized for it's now one� � � � 3� � and a half years.� I organized local traditional culture� � � � 4� � nights, Noche Creole.� I have 100, 150, sometimes 200� � � � 5� � people.� It's all local people coming over there.� Now� � � � 6� � it's also more, because that's also where I try to focus� � � � 7� � on.� There are more and more local people that they are� � � � 8� � aware of their own history.� That's also what I am doing� � � � 9� � now for the last three years together with the� � � � 10� � government.� It's what they call the Casa Cultura, the� � � � 11� � Culture Department.� Every year we do a Semana Cultura.� � � � 12� � That's a cultural week, and that's really amazing to� � � � 13� � see, because now my idea is something for the tourists� � � � 14� � to bring them, but what happened now all the local� � � � 15� � people, they start to take it for themselves.� � � � 16� � � � � What they do they go in nice traditional dresses in� � � � 17� � that week to their offices, and they make local foods and� � � � 18� � they give it to each other, and so it's bond of the� � � � 19� � community.� I am very happy with that, because now it's� � � � 20� � started from the community itself, and then finally I� � � � 21� � hope I can build it out.� That's also when we have� � � � 22� � tourists on the island that everybody -- everybody is a� � � � 23� � little bit too much, but most of the people they also --� � � � 24� � they will show their culture when they are on the street� � � � 25� � that really you feel part of the culture of Curacao.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 11� � � � 1� � � � � And that's also part of the arts is every Wednesday� � � � 2� � night I have a living history in the museum, especially� � � � 3� � for the tourists, and that's a show where we show the� � � � 4� � history of Curacao.� It's in three parts.� We start with� � � � 5� � the mom and dad, we have the slaves coming into the� � � � 6� � island, we have the small slave market.� The second part� � � � 7� � is where you see how we had the revolution and the� � � � 8� � evolution on the island.� And the third part you will see� � � � 9� � how the people use to live after the abolition.� This is� � � � 10� � also part of the culture, part of the art of the island.� � � � 11� � Well, that's the museum part.� � � � 12� � � � � And in the hotel, one of the things I created over� � � � 13� � there, that's what we call the Village Square.� That's a� � � � 14� � place because it's not a hotel like you see all over the� � � � 15� � world.� Really I can say that we are a unique in that,� � � � 16� � because it's like a village, and that's also the reason I� � � � 17� � made Village Square in the middle.� We are open; there are� � � � 18� � no gates that you have to go first to security or� � � � 19� � something like that.� No.� Everybody can walk in, and so� � � � 20� � it's a meeting point for local people and the tourists.� � � � 21� � So it's an easy way to meet each other often.� � � � 22� � � � � And to stimulate that, that's what I did the first� � � � 23� � three years I organized on the Village Square, I� � � � 24� � organized art markets, concert, classical concerts.� I� � � � 25� � invite people from Venezuela and other parts to make� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 12� � � � 1� � festivals over there.� Two years I had a choir festival,� � � � 2� � and I had 1,000 local people working over there.� This� � � � 3� � year I am going to do that again, children choir festival� � � � 4� � also, and it's all in our property.� � � � 5� � � � � You have to work on it, because like an example,� � � � 6� � when I started with this art market, I did it every� � � � 7� � Saturday, and then we finally what we call the snake� � � � 8� � affect, the other hotels also start to do it.� It doesn't� � � � 9� � make sense when these five people there doing the same.� � � � 10� � But I'm happy with that, let them do it, because that� � � � 11� � means for me they take it serious and then I can go for� � � � 12� � other things, but then it is there.� I don't have to do� � � � 13� � everything.� It's nice when people also they take it� � � � 14� � over.� That's what you will see if you organize.� That's� � � � 15� � again when I say think big but start small.� Do� � � � 16� � something, because it have to do it now.� If you wait� � � � 17� � until the big thing maybe will come, it never will come.� � � � 18� � That's very, very important, step by step, by step.� � � � 19� � � � � And that's also when I started to build two years� � � � 20� � ago, we have tourists on the island; we have cruise� � � � 21� � ships.� It took me three years, four years to get the� � � � 22� � cruise tourists into the museum.� I tried in all� � � � 23� � different place.� Finally, what I did I developed two� � � � 24� � tours myself, one city tour that starts in the city from� � � � 25� � the cruise ship, then they bring the people into the city� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 13� � � � 1� � and finally they walk through our property and ended up� � � � 2� � in the museum.� � � � 3� � � � � Another tour I developed it's called African� � � � 4� � Heritage Tour.� So we start in the museum, and then we� � � � 5� � bring the people in the buses to different spots on the� � � � 6� � island where you can see how this -- where we have this� � � � 7� � African heritage.� We go to a mansion how you can see how� � � � 8� � the people used to live and work on the plantation� � � � 9� � houses.� That's an experience.� And really I can see� � � � 10� � especially the black North American, they love that� � � � 11� � because that's the experience what they have on the� � � � 12� � island.� � � � 13� � � � � For instance, the impact of what the museum has is� � � � 14� � when we opened the museum, we had as one of the special� � � � 15� � guests, we had Doug Wilder.� Doug Wilder was the first� � � � 16� � black American governor in Virginia, and he was there,� � � � 17� � and he said, Jesus, this is the museum I want to have in� � � � 18� � the United States; and that's one of the things we� � � � 19� � working on now.� So you see how important it is that you� � � � 20� � do something and finally as an example.� Well, that's one� � � � 21� � of the things I want to share with you, and I hope come� � � � 22� � with questions, and I love to help you with this, because� � � � 23� � I see on this island a lot of possibilities, and --� � � � 24� � � � � � � AUDIENCE MEMBER:� � � Where does the funding� � � � 25� � come from?� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 14� � � � 1� � � � � � � MR. HELMS:� � This is all private money. � That� � � � 2� � was the only thing to do, because that was also what we� � � � 3� � told the people from the government.� Of course, we� � � � 4� � needed the permits to build and all that sort of thing.� � � � 5� � That's another thing, what we really did and that's why� � � � 6� � we have this nice dialogue, the future of the past.� � � � 7� � � � � What you will see is what we did with the past, we� � � � 8� � build a future.� We build a future by restoring all these� � � � 9� � buildings, because it should have been much, much cheaper� � � � 10� � if we tear down all this building and build something� � � � 11� � totally new.� What we did, where I had the possibility to� � � � 12� � do a restoration, to restore a building, I did it.� And� � � � 13� � that was for 98 percent of the buildings, you will see� � � � 14� � that was all restored.� And we had only two percent of� � � � 15� � new buildings, but it's also in the historical alley.� � � � 16� � You don't see the difference between it.� That was very,� � � � 17� � very important for me to do it in that way.� � � � 18� � � � � To come back on your question, it's all private� � � � 19� � money, because if we should wait for subsidizing and all� � � � 20� � that kind of things, it never should happen.� That's also� � � � 21� � what we told people from government, okay, give us one� � � � 22� � permit to do the whole thing.� Because they also, they� � � � 23� � knew it, the government doesn't have the money, and they� � � � 24� � never will have the money to do this.� So that's also one� � � � 25� � of the things we are working on on the island.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 15� � � � 1� � � � � And we have many times the owner, he goes to� � � � 2� � lectures and tells the people also from the island and� � � � 3� � can you imagine that now they pronounced him the persona� � � � 4� � non grata because he was telling the people -- because� � � � 5� � there is a lot of corruption on the island.� He doesn't� � � � 6� � keep his mouth, because what he is telling them is what you� � � � 7� � need is investors.� As government you don't have the� � � � 8� � money to do that, so if you are trying to get investors� � � � 9� � in a climate with a lot of corruption and fraud and that� � � � 10� � kind of thing, there is no investor who wants to do� � � � 11� � that.� You see it now because where we were waiting for� � � � 12� � was the connection with Holland, and now they signed for� � � � 13� � it and the interest is there; they are coming; they are� � � � 14� � waiting.� � � � 15� � � � � That's basically it.� We first have the DVD to give� � � � 16� � you a little bit impression what we did over there, and� � � � 17� � then Wayne will take it over.� � � � 18� � � � � � � (Off the record to show DVD.)� � � � 19� � � � � � � MR. HELMS:� � Thank you very much, I hope this� � � � 20� � will be an inspiration.� If you looking for someone to� � � � 21� � help you, here I am.� � � � 22� � � � � � � MR. JAMES:� � Good afternoon.� � � � 23� � � � � � � (Response.)� � � � 24� � � � � � � MR. JAMES:� � Most of you in here know me, so� � � � 25� � I will spare the introduction.� I think one of the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16� � � � 1� � messages from Mr. Helms' presentation is the simple fact� � � � 2� � is you can't underestimate the power of the individual.� � � � 3� � I think to a large extent we often times feel as if� � � � 4� � somebody else has to come in to do the something else,� � � � 5� � and before you know it, you become one of those people.� � � � 6� � I remember as a child saying, you know, they don't do,� � � � 7� � they don't do this, or they haven't done this, and then� � � � 8� � you become 30 and then you become 40 and then you realize� � � � 9� � that you are one of the they�s that you used to talk� � � � 10� � about.� And the individual is often times the source of� � � � 11� � progress.� � � � 12� � � � � I mean, if you look back at history, it is always� � � � 13� � some one person who did something that thousands of other� � � � 14� � people should have done.� Why that person does that, how� � � � 15� � that person gets that done often times we don't know,� � � � 16� � oftentimes he or she doesn't know.� The fact is though� � � � 17� � that if you just sort of wait for those wonderful, great� � � � 18� � individuals to emerge, whenever they do and often times� � � � 19� � they can come once in a lifetime, too much of history,� � � � 20� � too much of culture, it gets lost.� � � � 21� � � � � I had the pleasure of being in Curacao when a lot of� � � � 22� � this was first taking place, and there were lots of� � � � 23� � resistance from the local population because of the face� � � � 24� � of the person who was making much of the change.� And� � � � 25� � some of those criticisms were legitimate, some were not,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 17� � � � 1� � and that's life.� No good deed goes unpunished.� But� � � � 2� � ultimately it got done, and it was almost a by-any-means-� � � � 3� � necessary sort of way.� The man had a vision, and he did� � � � 4� � what had to be done to bring forth that vision.� � � � 5� � � � � I think though, as Melody asked, Ms. Rames, she� � � � 6� � asked what was the funding source.� That's a very real� � � � 7� � thing.� In Curacao there is Punda and then there is� � � � 8� � Otrabanda on the other side.� Well, in our situation� � � � 9� � here, we have wonderful historic architecture.� We have a� � � � 10� � wonderful designation that is really a sleeping giant,� � � � 11� � but just like how there is the other side, the issue for� � � � 12� � us is in the meantime.� What do we do in the meantime?� � � � 13� � What do we do until the big bad government comes and� � � � 14� � decides to take Frederiksted block by block and restore� � � � 15� � it or Christiansted street by street and restore it, what� � � � 16� � do we do in the meantime?� What do we do until some� � � � 17� � multibillionaire decides to come to St. Croix, falls in� � � � 18� � love with the island and then fixes everything up?� � � � 19� � � � � What we have learned from life and from history is� � � � 20� � that if you wait until one of those things decides to� � � � 21� � come forward, lots of things get lost, things disappear,� � � � 22� � and before you know it, when you finally do get this� � � � 23� � utopian situation to take place, you have half of the� � � � 24� � history and half of what you had to begin with.� � � � 25� � � � � I gave a talk a few years ago on how I would market� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 18� � � � 1� � St. Croix as it is right now.� And you know I come from� � � � 2� � Frederiksted, and Frederiksted has very little going on.� � � � 3� � As a matter of fact, you know we did that wonderful� � � � 4� � project on the waterfront, and it's one of the most� � � � 5� � beautiful waterfronts in the Caribbean, period.� And I� � � � 6� � live upstairs in a wonderful house on the waterfront, and� � � � 7� � the fact is you can run a race down Strand Street on any� � � � 8� � given day, because somehow we didn't look at the� � � � 9� � practical elements to redeveloping the waterfront.� � � � 10� � � � � For example, the prime areas of the waterfront today� � � � 11� � are occupied by banks.� Banks close at three o'clock on a� � � � 12� � good day, and they don't open on weekends.� As a result,� � � � 13� � there is no life, night life on Strand Street.� That� � � � 14� � waterfront is so beautiful that there are people who will� � � � 15� � come from all parts of the world, see that beautifully� � � � 16� � unused space and think that we are all crazy people for� � � � 17� � not having nightclubs, restaurants, cafes.� � � � 18� � � � � I mean, the park that where the sprinkler comes on� � � � 19� � every night, it supposed to have people in it under� � � � 20� � umbrellas having dinner and enjoying the waterfront and� � � � 21� � having music, and young musicians on this island, young� � � � 22� � boys who have nothing to do at night, should be able to� � � � 23� � come out into that park, set up a little steel band and� � � � 24� � play, like serenade.� It happens all over the world.� � � � 25� � Whether you go onto the Walking Street in Copenhagen or� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 19� � � � 1� � you go on Colon in Ecuador, musicians, artists set up.� � � � 2� � That doesn't happen here, because we somehow didn't� � � � 3� � recognize the need to rezone the waterfront, because the� � � � 4� � powerful families from Frederiksted, we all know who we� � � � 5� � are, all of that stuff, people want sure rent and banks� � � � 6� � tend to pay.� What happens is who doesn't have money, if� � � � 7� � it's a bank.� The problem though is we have our� � � � 8� � waterfront where the landlords are making their monthly� � � � 9� � rent, but the whole waterfront is underutilized by the� � � � 10� � entire population.� So who in the long run loses,� � � � 11� � St. Croix.� � � � 12� � � � � As I was saying in that speech that I gave a few� � � � 13� � years ago, if I had come from the midwest in the 1930s� � � � 14� � when the farm lands had been over farmed and there was� � � � 15� � nothing but tumbleweed blowing across the midwest, if I� � � � 16� � had to market the midwest, I would have market that very� � � � 17� � thing, the tumbleweed.� � � � 18� � � � � Who in this room hasn't seen a western movie and� � � � 19� � became fascinated by tumbleweed?� It's the iniquitous� � � � 20� � tumbleweed that rolls across the street in the middle of� � � � 21� � the morning, and after the tumbleweeds there is going to� � � � 22� � be a shoot out.� We know it.� It has almost become an� � � � 23� � icon of the depressed midwest or the depressed west.� � � � 24� � � � � Well, here we are in Frederiksted with Strand� � � � 25� � Street, and we have nothing much going on.� If I had to� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 20� � � � 1� � market Strand Street, I will go and market the very fact� � � � 2� � that there is nothing going on Strand Street because� � � � 3� � there are lots of people who want to come to a place� � � � 4� � where there is nothing going on.� They simply want to� � � � 5� � relax.� And we do that until there is something going on,� � � � 6� � and then you market that next thing; but in the meantime,� � � � 7� � which is the other side to Otrabanda, our slogan should� � � � 8� � be in the meantime, in the meantime what do you do.� � � � 9� � � � � I will go up -- just like how Mr. Helms went and� � � � 10� � showed the before and after, I would go up by Marley� � � � 11� � where there is a family of chickens that have lived there� � � � 12� � from time in memorial, because they been there ever since� � � � 13� � I been there.� When a mother hen in Frederiksted crosses� � � � 14� � the street, she does it with a boldness like I am sure� � � � 15� � nothing is going to come to run me over because there is� � � � 16� � nothing here to run me over.� So you film this hen with� � � � 17� � her chicks crossing a street in a historic town.� You� � � � 18� � tell people, when you want to come to a wonderful place� � � � 19� � where nothing is going on, and you want to relax and have� � � � 20� � your children play in the streets because there is no� � � � 21� � traffic to run them over, come to St. Croix and they� � � � 22� � will.� � � � 23� � � � � It's like the Persians have a saying, "You can catch� � � � 24� � fish in muddy water."� In other words, make the best of� � � � 25� � what you have.� If you get lemon, make lemonade.� We all� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 21� � � � 1� � know the stuff.� � � � 2� � � � � � � MR. HELMS:� � Maximize what you have.� � � � 3� � � � � � � MR. JAMES:� � Exactly.� Whatever it is, make� � � � 4� � the best of it.� � � � 5� � � � � I think in order for us to understand how to present� � � � 6� � ourselves, we have to first of all be proud of who we� � � � 7� � are.� I mean, if you don't fundamentally feel good about� � � � 8� � yourself, your culture, your people, your history, you� � � � 9� � wouldn't sell it right.� You just wouldn't, because you� � � � 10� � are ashamed of half the stuff, you don't understand the� � � � 11� � other half, and the parts in-between, you don't know.� � � � 12� � � � � If you look at how countries market themselves, what� � � � 13� � do they really show.� They show their essence.� The first� � � � 14� � thing you want to know about a culture is food, music,� � � � 15� � architecture, celebrations.� I mean if you look at Italy,� � � � 16� � every year you know that there is going to be that fight� � � � 17� � with the tomatoes, de Palio of Siena.� It's an event,� � � � 18� � it's isosteric.� It's just this thing that these people� � � � 19� � themselves do, but they have managed to take the running� � � � 20� � of the bulls in Spain and make people all over the world� � � � 21� � every single year fascinated by a crazy event, but there� � � � 22� � are people who will get onto a plane and go to Spain� � � � 23� � because of that.� � � � 24� � � � � There are people who will go to Italy to see the� � � � 25� � Palio of Siena where these horses that represent these� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 22� � � � 1� � various provinces come and race against each other almost� � � � 2� � to the death.� The deal is the first horse to cross the� � � � 3� � line is the winner, whether the jockey is on the back or� � � � 4� � not.� That's the rule.� � � � 5� � � � � And so when you think of Brazil, for example, I mean� � � � 6� � most people when they hear Brazil they think carnival.� � � � 7� � And if you ever been there, you understand exactly why.� � � � 8� � That really is a fantastic event.� � � � 9� � � � � These are cultures that are celebrating something� � � � 10� � about themselves that they love and that they think if I� � � � 11� � love it, other people will love it too.� � � � 12� � � � � When you think -- we are all -- many of us in here� � � � 13� � are Caribbean people, and we have all been in an airport.� � � � 14� � You open your mouth and people hear your accent, the� � � � 15� � first thing they ask you, Are you from Jamaica.� On a� � � � 16� � good day they ask you if you are from St. Thomas.� Never� � � � 17� � do they ask you if you are from St. Croix.� � � � 18� � � � � Now, let's just say to keep peace in the Virgin� � � � 19� � Islands for today, let's just go back to Jamaica, which� � � � 20� � is what they tell you to do, Come back to Jamaica.� I� � � � 21� � have one more minute, so I will wrap up.� Just take� � � � 22� � Jamaica, the wonderful thing about Jamaica is the fact� � � � 23� � that they have let the world know who they are.� When you� � � � 24� � ask a person about Jamaica, they can tell you their music� � � � 25� � is reggae, their food is jerk.� They tell you.� I mean,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 23� � � � 1� � somehow Jamaica has been able to define itself in very� � � � 2� � concrete terms.� � � � 3� � � � � We do the traditional marketing.� Our ads do a� � � � 4� � wonderful job of bringing you to the Caribbean in� � � � 5� � general, not to St. Croix in particular.� We do the� � � � 6� � traditional things like we have the farm trips for the� � � � 7� � travel agents, and they come down and they write these� � � � 8� � wonderful stories in travel magazines.� But let me tell� � � � 9� � you something, "How Stella Got Her Groove Back" did more� � � � 10� � for Jamaica's tourism than any ad or any article in any� � � � 11� � magazine, because it presented it in a different way and� � � � 12� � it presented it in a unique way.� � � � 13� � � � � And so what we need to do is by any means necessary� � � � 14� � and in the meantime figure out innovative ways,� � � � 15� � interesting ways to present St. Croix as we have it right� � � � 16� � now, and then when the towns get restored and when� � � � 17� � everything gets done just right, we fine another� � � � 18� � marketing plan.� I will be happy to entertain questions� � � � 19� � later.� � � � 20� � � � � � � MR. HELMS:� � Thank you, Mr. James.� � � � 21� � � � � Now a word from Mr. Petersen.� � � � 22� � � � � � � DR. PETERSEN:� � I don't know if I could� � � � 23� � follow Wayne.� I was going to give this long -- they� � � � 24� � asked me to come to talk about myself and what we do,� � � � 25� � what I have done concerning music and how it could relate� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 24� � � � 1� � to tourism and stuff like that.� Like Wayne, most of you� � � � 2� � know me.� I was born in Frederiksted and been a calypso� � � � 3� � singer and musician for quite a while, and besides being� � � � 4� � a veterinarian, now manages Island Center for the� � � � 5� � Performing Arts; and I guess that's where it ties into� � � � 6� � the arts and the tourism product.� � � � 7� � � � � Unlike Wayne, I think that things are happening in� � � � 8� � the waterfront in Frederiksted because just like him, I� � � � 9� � saw this beautiful project finished, no plans as to what� � � � 10� � to do with it, and noticed that just a few people take a� � � � 11� � little evening walk or early morning walk for exercise in� � � � 12� � this beautiful park.� And to that end, like Mr. Helms, I� � � � 13� � decided to start someplace.� � � � 14� � � � � And every Wednesday evening, Wayne, there is music� � � � 15� � in the park in Frederiksted sponsored by FEDA,� � � � 16� � Frederiksted Economic Development Association, and I� � � � 17� � arrange with my musician friends and other people in the� � � � 18� � performing arts to come and perform for a nominal fee.� � � � 19� � This has been going on for the last six months, where� � � � 20� � from 5:30, 6 o'clock in the evening there would be some� � � � 21� � performance there at the Clock Tower in the park in� � � � 22� � Frederiksted, and we do plan to extend it.� Maybe some� � � � 23� � time you will see a steel pan, a steel band playing in� � � � 24� � the park just to have some activities there in the park� � � � 25� � in Frederiksted.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 25� � � � 1� � � � � In addition to that, there are some other larger� � � � 2� � functions that are being planned there in the Strand� � � � 3� � Street.� You know HOVENSA had a big party there, and we� � � � 4� � are trying to do something again in November.� They are� � � � 5� � going to have a jazz festival on the park itself.� So I� � � � 6� � think that things are being done.� � � � 7� � � � � I came up with the premise that you should do for� � � � 8� � yourself and others will come to enjoy the facility.� I� � � � 9� � think that's the way that I am doing with Island Center� � � � 10� � where institutions, some local program with the help of� � � � 11� � the V.I. Council of the Arts with the funding that they� � � � 12� � gave us, and we do get some donation from the public.� � � � 13� � It's a nonprofit organization, but when it's all said and� � � � 14� � done, Island Center supports just about all the nonprofit� � � � 15� � organizations on the island that have anything to do with� � � � 16� � performing arts.� You name it, the Music in Motion, the� � � � 17� � Caribbean Dance Company, Cruzan Dance, just about all the� � � � 18� � schools, the Complex, Free Will Baptist, the Seventh Day� � � � 19� � Adventist School, they have their graduations there at� � � � 20� � Island Center, and we have quite a number of other events� � � � 21� � that happens there.� We just had Step Africa with the� � � � 22� � V.I. Council of the Arts and Oliver, even Reichhold� � � � 23� � Center in St. Thomas come over and hold some of their� � � � 24� � events over here at Island Center.� And what we are� � � � 25� � trying to do is develop other in-house projects.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 26� � � � 1� � � � � Right now we have Voices in Praise, which is a� � � � 2� � choir, a local choir with local participants.� We are� � � � 3� � also trying to develop a symphony group.� We have� � � � 4� � Exclusive Dance, which is another dance group.� Most of� � � � 5� � you are familiar with Sunset Jazz.� That's where they do� � � � 6� � all their rehearsals before they go down and have that� � � � 7� � beautiful Sunset Jazz in Frederiksted.� � � � 8� � � � � One of the things I am particularly interested in� � � � 9� � that's particular to this topic today is reviving the� � � � 10� � masqueraders.� Those of us that are older than 30 or 40� � � � 11� � years old know that on big holidays, Whit Monday,� � � � 12� � Memorial Day, Easter Monday, those days you would see the� � � � 13� � masqueraders all over Frederiksted.� I imagine� � � � 14� � Christiansted too.� I grew up in Frederiksted, so I could� � � � 15� � speak to that.� You had the masqueraders with the peacock� � � � 16� � feathers, with the wire mask and the tattered costumes� � � � 17� � with mirror on them with the bells on the ankle and stuff� � � � 18� � dancing through the streets of Frederiksted.� And you had� � � � 19� � people like Frank Charles and Mr. Drake reciting the� � � � 20� � Hamlet and holding the Sears Roebuck book and reciting� � � � 21� � like they are doing a big narration.� That sort of died� � � � 22� � out.� We are trying to revive that.� We have the costumes� � � � 23� � and things.� � � � 24� � � � � That type of thing I believe can have a great impact� � � � 25� � on the tourism product like we are speaking about where� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 27� � � � 1� � the tourists will come and want to see things we enjoy� � � � 2� � here on the island for ourselves.� I don't have to talk� � � � 3� � about quadrille music and quadrille because that's pretty� � � � 4� � well established here on the island.� They come and enjoy� � � � 5� � that.� They could come and enjoy the masqueraders.� They� � � � 6� � could come and enjoy the other local cultural dances.� � � � 7� � � � � I see PANKHA dance group is going to perform here� � � � 8� � today.� And you have Denbia Dance Group, that's Afro� � � � 9� � Caribbean dancers, then you have the quelbe band.� The� � � � 10� � Complex has a fantastic quadrille youth band that you� � � � 11� � heard last night.� We support them.� They do a concert� � � � 12� � every Christmas with the Ten Sleepless Nights.� � � � 13� � � � � I think that we have the product, we have the� � � � 14� � potential, all is for the students to become involved,� � � � 15� � and I think that it would greatly support our tourism� � � � 16� � industry once it gets going.� � � � 17� � � � � � � MR. HELMS:� � Thank you very much.� � � � 18� � � � � It sounds like you have it all, so develop it.� � � � 19� � � � � Ms. Mahoney.� � � � 20� � � � � � � MS. MAHONEY:� � Hello.� I am Betty Mahoney� � � � 21� � from St. Thomas, so I am outnumbered here.� I am the� � � � 22� � Executive Director of Virgin Islands Council on the Arts.� � � � 23� � We are the government agency within the Department of� � � � 24� � Planning and Natural Resources.� � � � 25� � � � � This young lady asked where does the money come� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 28� � � � 1� � from, where can the money come from.� We are one agency� � � � 2� � that can assist artists, crafts people, anyone who is� � � � 3� � interested in developing their product.� One of the� � � � 4� � things that I dream of is a made-here initiative where� � � � 5� � the local artists and crafts people, their products can� � � � 6� � be in hotel rooms.� We have no musicians -- very few� � � � 7� � musicians playing music.� Our music needs to be played in� � � � 8� � hotels, on beaches, and it needs to be played by our� � � � 9� � musicians.� Is it time for a musicians' union?� Or how do� � � � 10� � we move to the next level here?� � � � 11� � � � � Our craft items, everything that is made in the� � � � 12� � Virgin Islands need to be available to our visitors.� I� � � � 13� � don't care where they come from.� We have some of the� � � � 14� � most beautiful products available.� What is stopping us� � � � 15� � from having these products in hotels?� Those are the� � � � 16� � things that I would like to really explore.� Anybody who� � � � 17� � has ideas on how the council could help.� � � � 18� � � � � One other area I am thinking about that -- I may be� � � � 19� � a little crazy. -- is we can look at a percentage of our� � � � 20� � total income, even if it's just a penny of the� � � � 21� � government's operating budget or our EDC beneficiaries� � � � 22� � that goes to arts, culture, historic preservation.� I� � � � 23� � think that if we start there, we can build a nice little� � � � 24� � pocket of money that could really go forward and begin� � � � 25� � some of these projects, begin these projects -- bring� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 29� � � � 1� � these projects to fruition.� � � � 2� � � � � I need to certainly take a moment to say thank you� � � � 3� � and welcome to our board members, Claire Roker, Karen� � � � 4� � Thurland and Vernon Finch.� We have a nine-member board� � � � 5� � pretty much like the Humanities; four from St. Thomas,� � � � 6� � four from St. Croix, one from St. John.� Anyone� � � � 7� � interested in serving on our board, please be in touch� � � � 8� � with me.� We have a few vacancies.� � � � 9� � � � � I come from the government side of the arts and� � � � 10� � culture, so I don't have the experience that these� � � � 11� � gentlemen have, but I do know this, as an executive� � � � 12� � director, while it is important for us to help the� � � � 13� � artists here, it is also important that we send our� � � � 14� � artists out.� And that has been one of the things that� � � � 15� � Virgin Islands Council on the Arts have been focusing on.� � � � 16� � We have local artists go as far as Italy, Venice.� We� � � � 17� � planning to target CARIFESTA.� So these are various� � � � 18� � international events that Virgin Islanders are very well� � � � 19� � represented at.� Artists, even those individuals who know� � � � 20� � of activities that are taking place and want to� � � � 21� � participate, please be in touch with us.� � � � 22� � � � � I am not going to take up a whole lot more time� � � � 23� � because there may be an issue of questions, but I just� � � � 24� � feel that we need to put some energy and artists� � � � 25� � themselves need to step to the plate and become active in� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 30� � � � 1� � what they can contribute.� And I believe very strongly� � � � 2� � that the product that I see coming out of tourism does� � � � 3� � not reflect our artists and our culture.� I think that� � � � 4� � needs to be changed.� � � � 5� � � � � � � MR. HELMS:� � One of the things I think that's� � � � 6� � what they did in Aruba to build up the whole thing. � They� � � � 7� � ask the whole population to pay one time 7 percent of the� � � � 8� � year income, make a pot out of that and from there you� � � � 9� � can start.� It's an idea.� � � � 10� � � � � It's time for some questions now.� � � � 11� � � � � � � AUDIENCE MEMBER:� � � I was trying not to be� � � � 12� � aggressive and start.� I am interested in the nuts and� � � � 13� � bolts of the project.� Are the buildings that were there,� � � � 14� � were they privately owned?� Was there some central� � � � 15� � organization that then purchased those or how --� � � � 16� � � � � � � MR. HELMS:� � No, it was all private own. � And� � � � 17� � probably you have the same system like we have in all the� � � � 18� � Caribbean that when the old people when they die, they� � � � 19� � give the houses to the children, and so most of the time� � � � 20� � it happened that we had 100, sometimes 150 of the� � � � 21� � relatives were involved in it, and we needed an authors� � � � 22� � from each of them to purchase all these houses because --� � � � 23� � � � � � � AUDIENCE MEMBER:� � � You did ultimately have� � � � 24� � to purchase them and then there is some central� � � � 25� � organization that now owns them or --� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 31� � � � 1� � � � � � � MR. HELMS:� � No, we own them ourselves. � It's� � � � 2� � all private.� � � � 3� � � � � � � AUDIENCE MEMBER:� � But there was a private� � � � 4� � company that purchased it from them?� � � � 5� � � � � � � MR. HELMS:� � No, we did it ourselves. � That's� � � � 6� � one of the things we had to do, because otherwise, if you� � � � 7� � don't have the autographs of all the family -- that� � � � 8� � happens with one house, we still waiting for that,� � � � 9� � because it seemed that one of the children he died, but� � � � 10� � he still on the register in Miami.� That's very� � � � 11� � difficult.� � � � 12� � � � � � � AUDIENCE MEMBER:� � � I think she is trying to� � � � 13� � ask who is the we.� You keep saying we, we had to buy� � � � 14� � them.� � � � 15� � � � � � � MR. HELMS:� � That's Mr. Dekker and me and the� � � � 16� � organization.� Well, the foundation, because -- sorry.� � � � 17� � We define the hotel part, that's we; and the museum and� � � � 18� � the institute, that's foundation, but it's all under the� � � � 19� � same umbrella.� � � � 20� � � � � � � AUDIENCE MEMBER:� � � Now, the foundation is� � � � 21� � managing it, and you are subleasing those spaces where� � � � 22� � the restaurants and that kind of thing are?� � � � 23� � � � � � � MR. HELMS:� � The restaurants we do ourselves,� � � � 24� � but the shops we lease that out, the spa we lease that� � � � 25� � out, and the rest is all run by ourselves.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 32� � � � 1� � � � � � � AUDIENCE MEMBER:� � � I'm a member of Our Town� � � � 2� � Frederiksted, and we are responsible for restoration.� � � � 3� � And one of the biggest problems we have is homes that are� � � � 4� � owned by several children, but they don't talk to one� � � � 5� � another or a member cannot sell without getting the� � � � 6� � others involved.� We thought that some of those homes� � � � 7� � could be turned into bed and breakfast or museums.� How� � � � 8� � do you get the individuals to come together to sell?� � � � 9� � � � � � � MR. HELMS:� � Try to convince them and invite� � � � 10� � on a conference like this so also they see how necessary� � � � 11� � it is that they have to participate in this thing to� � � � 12� � develop.� And that's the only thing you can do, because� � � � 13� � it's a private problem.� We had that also, and it was� � � � 14� � many, many fights.� � � � 15� � � � � Can you imagine when we started over there, it was� � � � 16� � not only -- because we had people in -- because it was� � � � 17� � the owners that we also we had the people, this� � � � 18� � derelicts, that went into these houses.� That was number� � � � 19� � one, to get them out, and we didn't want to have enemies.� � � � 20� � So I talked with them and I told them there is two� � � � 21� � possibilities, you have to go out, because it's not --� � � � 22� � first, it's not your house, and second, we have to do� � � � 23� � something that's good for the development and things like� � � � 24� � that.� I have to send you out, or there is another� � � � 25� � possibility, you come to work for me, and that's what I� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 33� � � � 1� � did.� � � � 2� � � � � In that variant, I trained 20 of these people who� � � � 3� � were living over there.� First they had to go to a rehab� � � � 4� � and then they come back, and I trained them to work as� � � � 5� � carpenters, brick layers, other kind of thing.� Even the� � � � 6� � biggest drug dealer in the whole neighborhood, we make� � � � 7� � him head of security, and that worked out very, very� � � � 8� � well.� It was his -- if you take these people out, you� � � � 9� � have enemies, and they steal from you, and it's a bad� � � � 10� � situation.� Now we are very proud because it's part of� � � � 11� � their lives and part of their neighborhood.� � � � 12� � � � � � � AUDIENCE MEMBER:� � � It's more of a comment,� � � � 13� � but there are for such a small place there are so many� � � � 14� � famous Virgin Islanders.� Not famous but people who have� � � � 15� � been the pioneers or the first in big companies or other� � � � 16� � things.� I remember visiting South Carolina for a� � � � 17� � business meeting, and I invited my sister Karen to come� � � � 18� � along.� We went on the African American tour.� They were� � � � 19� � going down the streets and, of course, South Carolina� � � � 20� � were built by black architects and the beautiful� � � � 21� � buildings they have.� But the tour guide said, Denmark� � � � 22� � Vesey, a slave, you know, he lived here and he had bought� � � � 23� � his freedom.� � � � 24� � � � � So Karen said, no, he wasn't from South Carolina.� � � � 25� � He was from St. Thomas, Virgin Islands.� The man said,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 34� � � � 1� � yes, yes, I know.� South Carolina claimed him.� � � � 2� � � � � I been to public health meetings and someone sat� � � � 3� � next to me, oh, you from St. Croix, Alexander Hamilton, I� � � � 4� � love to visit there and see where you live.� Even with� � � � 5� � our architecture and destination, something to attract� � � � 6� � people who have an interest to these people to visit us� � � � 7� � here.� I think that would work.� � � � 8� � � � � � � AUDIENCE MEMBER:� � � Good morning, I just want� � � � 9� � to thank the panelists for the information that they� � � � 10� � shared.� Piggybacking on what Mr. James said -- and I'm� � � � 11� � not sure what Karen's sister, if her last name is� � � � 12� � Thurland.� I think it is so important for to us come� � � � 13� � together and market the whole package.� That's what's� � � � 14� � missing, we are not marketing what we have.� Locals know� � � � 15� � about us.� And Dr. Petersen you mentioned about going in� � � � 16� � Frederiksted and talking and doing the music best in the� � � � 17� � park.� � � � 18� � � � � When we look at St. Thomas, what Mr. James said, the� � � � 19� � Greenhouse is right there, the tourists are there, and� � � � 20� � the real key here is having them come, because that's� � � � 21� � what drive this economy, new money, and they are not� � � � 22� � coming because they don't have a sense of purpose.� � � � 23� � � � � Going back to Mr. James, Frederiksted, you right,� � � � 24� � it's dead.� So maybe if we market that as a vacation� � � � 25� � place to relax, we will get people to come, we will be� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 35� � � � 1� � able to fill the street to listen to your music, and� � � � 2� � those people will sell our territory, because they will� � � � 3� � go back home and tell whomever about the wonderful time� � � � 4� � they had here.� � � � 5� � � � � We are not putting the money, the advertisement.� � � � 6� � 100 percent of it needs to be culturally linked, 100� � � � 7� � percent.� We need to put the money there, market the� � � � 8� � place, and let those people that visit us sell our place.� � � � 9� � � � � � � DR. PETERSEN:� � I agree.� � � � 10� � � � � � � AUDIENCE MEMBER:� � � Good morning.� I'm a� � � � 11� � retired vocational arts teacher.� My last name is� � � � 12� � Butcher, and my students used to tease me all the time� � � � 13� � about coming to the butcher shop.� I went to SBDC, and I� � � � 14� � took all the courses and stuff and I started a small� � � � 15� � business.� Now, my business is arts services.� Now, what� � � � 16� � I am finding out is in just like a lot of craft people� � � � 17� � here there is no workers.� � � � 18� � � � � The schools are not training artisans so that we� � � � 19� � have a work force so that we can produce these products.� � � � 20� � Because not even dealing with here, with the net we can� � � � 21� � sell our stuff away from here, but the problem is -- I� � � � 22� � went to the Department of Labor and I offered to train,� � � � 23� � you know, the people who are coming from welfare and� � � � 24� � other situations, and even working with the� � � � 25� � paraprofessionals to teach them the skills to be able to� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 36� � � � 1� � go into the classroom, be a substitute teacher or work in� � � � 2� � the after school programs to work and try to develop the� � � � 3� � arts, because without trained workers, we are in trouble.� � � � 4� � � � � As a designer and stuff, and I take business from� � � � 5� � people, I have to make sure for the liability in terms of� � � � 6� � loss of cost and stuff, I have to make sure that I can� � � � 7� � give the work to people that are trustworthy and have the� � � � 8� � skills.� � � � 9� � � � � So Ms. Mahoney, I am wondering if -- I went to� � � � 10� � Labor, they said I didn't fall -- art and crafts didn't� � � � 11� � fall underneath the industry needs.� There is no formal� � � � 12� � business that doesn't function without art, for� � � � 13� � presentation, illustrations, everything.� My thing is how� � � � 14� � do we get a training program so we can get more� � � � 15� � instructors into the school and after school programs and� � � � 16� � camps and stuff?� � � � 17� � � � � � � AUDIENCE MEMBER:� I would like to address that.� � � � 18� � I am an artist as well.� I would like to address that. � I� � � � 19� � am an artist, Janet Rutnik from St. John.� I was also in� � � � 20� � the Virgin Islands Cultural Heritage Institute for a� � � � 21� � number of years.� The craft question is very important.� � � � 22� � I think the main thing is that the Virgin Islands� � � � 23� � Government has not taken it upon themselves to identify� � � � 24� � and register indigenous Virgin Islands crafts.� � � � 25� � � � � I looked into this in San Juan and brought back� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 37� � � � 1� � their entire package on the process they went through for� � � � 2� � doing this, and it was all in Spanish.� It could have� � � � 3� � been.� I wanted the institute to take that on as a� � � � 4� � project.� Because once that happens and these crafts are� � � � 5� � sanctioned, then every government official that goes� � � � 6� � anywhere brings the coconut bird feeder or the Mocko� � � � 7� � Jumbie, whatever these things are; this provides revenue,� � � � 8� � interest, and credibility.� � � � 9� � � � � The other issue was the arts and what you were� � � � 10� � talking about.� There is no university level art� � � � 11� � department; however, there is tremendous interest.� � � � 12� � Anyone that has taught art or even is an artist are� � � � 13� � constantly approached by mothers and grandmothers,� � � � 14� � children are interested and they are looking for this.� � � � 15� � Without a university level art department, there is no� � � � 16� � art scholarship, no art history.� We have yet to find or� � � � 17� � document Virgin Islands history.� This must be done.� � � � 18� � And Jamaica has done it.� � � � 19� � � � � There is a very simple motion you can start with.� � � � 20� � You can start with pre-Columbian art up to Tesoro art,� � � � 21� � and then you can add to it over the years; but you need� � � � 22� � scholarships, you need curation and you need --� � � � 23� � � � � � � MR. HELMS:� � Sorry to interrupt, don't wait� � � � 24� � for the government.� Maybe one of the panel want to have� � � � 25� � an answer on that.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 38� � � � 1� � � � � � � MS. MAHONEY:� � I don't know -- when the� � � � 2� � Casino Commission was being reformed and we wanted art� � � � 3� � work to be in these hotels and to use the local products,� � � � 4� � the same exact thing that the gentleman talked about, we� � � � 5� � went to Labor to try to integrate the arts into this� � � � 6� � whole project, and we had the exact same problem.� It is� � � � 7� � up to us as a community to come together.� You are� � � � 8� � waiting for the government or somebody else, exactly what� � � � 9� � we were talking about, to do it.� Individual artists they� � � � 10� � formed corporations, they form nonprofits, they have all� � � � 11� � kind of artist associations.� � � � 12� � � � � � � AUDIENCE MEMBER:� � � Exactly.� I think that� � � � 13� � all those organizations like Humanities, like all the� � � � 14� � arts group, all of them should lobby the University of� � � � 15� � the Virgin Islands to have a university level full arts� � � � 16� � program.� And we have the Kean women of St. Thomas, an� � � � 17� � entire family of artists.� We have the Galiber woman. � We� � � � 18� � have people whom these departments, perhaps a chair, could be named� � � � 19� � in their memory and funding.� We can go out and support� � � � 20� � that, but we need an institution free from the� � � � 21� � marketplace to support scholarship curation and� � � � 22� � preservation.� � � � 23� � � � � � � MR. JAMES:� � Can I make a comment?� I agree� � � � 24� � in the sense that, Mr. Helms, you can't overlook the fact� � � � 25� � that the situation that occurred in Curacao was to some� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 39� � � � 1� � extent a stroke of luck.� I mean, you are in a situation� � � � 2� � where a particular Dutch man came to a particular Dutch� � � � 3� � island and invested a lot of his private money in� � � � 4� � something that he personally believed in.� The average� � � � 5� � destination doesn't have that formula.� And so the issue� � � � 6� � then for most people in this room is absent that magic� � � � 7� � formula, how do you get what you got done done.� � � � 8� � � � � And I think that as a destination you can't separate� � � � 9� � art from tourism.� I mean, it's like Paris separating� � � � 10� � itself from the Mona Lisa.� It's like Florence separating� � � � 11� � itself from Michael Angelo's David.� When you get down to� � � � 12� � it, art whether it's on a high level or a low level, it� � � � 13� � is the thing that defines you as a people.� � � � 14� � � � � � � MR. HELMS:� � I think that's one of the most� � � � 15� � important things, is that if you are talking about arts� � � � 16� � or talking -- I think arts is now at this moment on a� � � � 17� � high level, but I think first talk about handicraft,� � � � 18� � because handicraft, that's where most tourists they are� � � � 19� � looking for.� And, of course, arts it's wonderful, but� � � � 20� � it's on a higher level.� � � � 21� � � � � � � MR. JAMES:� � Right.� But I also think, what� � � � 22� � Ms. Rutnik is saying is that the government to some� � � � 23� � extent has to officially sanction something in the sense� � � � 24� � that it has already been tried and tested from time and� � � � 25� � memorial that art is critical and it defines a culture,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 40� � � � 1� � it defines a people.� � � � 2� � � � � And the fact is the average artist on this island� � � � 3� � has a complex because he knows that when he was in the� � � � 4� � kindergarten and they needed to cut back on programs� � � � 5� � because of funding, it was the art program that got cut� � � � 6� � back.� You got into high school and then you wanted to� � � � 7� � choose an elective, and it was the art program that� � � � 8� � wasn't available, and you could only get it after school� � � � 9� � once a week.� So you grew up in an environment where art� � � � 10� � is this thing that is relegated almost to nothing, and� � � � 11� � then when you turn around, it's really the art that frees� � � � 12� � you.� � � � 13� � � � � � � MR. HELMS:� � That's all over the world.� � � � 14� � Because art is not a money maker.� Everybody knows that.� � � � 15� � I have many areas in Europe.� You can't make real money� � � � 16� � with art.� It's nice to have it.� � � � 17� � � � � � � (Off the record.)� � � � 18� � � � � � � AUDIENCE MEMBER:� � I think, Ms. Rutnik, you� � � � 19� � have it, it has to be institutional.� � � � 20� � � � � I want to enlighten you to the Virgin Islands� � � � 21� � Council of the Arts embarking on a collective artist� � � � 22� � project in which we are right now looking into a venue on� � � � 23� � both districts for getting our arts way out into our� � � � 24� � communities.� We have done a tremendous amount of� � � � 25� � research, and we right now have a collaborative model� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 41� � � � 1� � with one of our major hotels and our housing community,� � � � 2� � and the Virgin Islands Housing Authority in Pearson� � � � 3� � Garden.� � � � 4� � � � � We cannot separate arts and the indigenous from the� � � � 5� � tourism.� It's a composite package.� We got to begin to� � � � 6� � merge and grow art in the Virgin Islands once again, and� � � � 7� � there are several ways of doing it.� And one of the� � � � 8� � things we are trying to embark on is arts in education,� � � � 9� � because we found through research and it is well-known,� � � � 10� � documented that there are people who are involved in arts� � � � 11� � in our school excel.� Achievement levels are risen.� � � � 12� � � � � So now the projects that we are now embarking on is� � � � 13� � to grow on.� In many respects it doesn't have to be in� � � � 14� � the museum.� We want to begin to look at art without� � � � 15� � walls.� And that's a project where we are working on� � � � 16� � right now, and is the involvement of our people with the� � � � 17� � tourist product.� � � � 18� � � � � � � MR. HELMS:� � Thank you very much.� � � � 19� � � � � � � Because of time we have to close it off.� I� � � � 20� � have these two ladies here.� � � � 21� � � � � � � Just really quick.� I am Priscilla Hintz with� � � � 22� � ArtFusion Magazine.� I just want to publicly thank the� � � � 23� � Virgin Islands Council on the Arts for supporting our� � � � 24� � publication and the artists in this community.� However,� � � � 25� � there is a huge perception, and I don't know if it's� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 42� � � � 1� � necessarily just here in the Virgin Islands, that art is� � � � 2� � just a hobby, that there isn't a real economic revenue� � � � 3� � that can be made through the arts.� And that's a real� � � � 4� � misconception and a perception that I think that we� � � � 5� � should come together both in the private sector and the� � � � 6� � nonprofit sector and the government sector to really� � � � 7� � start educating ourselves about the value, the economic� � � � 8� � value that arts can provide to a community.� � � � 9� � � � � It's unbelievable the numbers that places like New� � � � 10� � York City and Miami and Paris generate on the arts alone� � � � 11� � in that community.� So I think this a great forum for us� � � � 12� � to start dialoguing, but we need to put some actions and� � � � 13� � plans together to really focus on the economic value that� � � � 14� � the arts can provide.� Thank you.� � � � 15� � � � � � � MR. HELMS:� � Thank you very much.� You are� � � � 16� � totally right.� � � � 17� � � � � � � AUDIENCE MEMBER:� � � Good morning, everybody.� � � � 18� � My name is Emily Graci.� I am the Development Director� � � � 19� � for Caribbean Museum Center for the Arts.� When Mr. James� � � � 20� � was talking about recognizing the assets that we have,� � � � 21� � and saying there is nothing going on in Frederiksted, I'd� � � � 22� � like to kind of shed some light on that, and explain that� � � � 23� � we have planted some very important seeds in� � � � 24� � Frederiksted.� We have Whim Museum, we have Fort� � � � 25� � Frederik, and we have the Caribbean Museum Center for the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 43� � � � 1� � Arts.� � � � 2� � � � � You guys are all talking about promoting art work,� � � � 3� � continuing the heritage, continuing the generation of� � � � 4� � students creating this art work.� That's what we are� � � � 5� � doing at Caribbean Museum Center for the Arts.� We have� � � � 6� � an after school program.� It's called Promoting Literacy� � � � 7� � Through the Arts.� � � � 8� � � � � I have a little display that the students made over� � � � 9� � there where they brought actual culture bearers from the� � � � 10� � community into the classrooms and at the after school and� � � � 11� � summer program.� Mind you it's free, funded by a huge� � � � 12� � federal grant, Institute of Museum and Library Services.� � � � 13� � But we are essentially creating the next generation of� � � � 14� � students creating these heritage art forms.� � � � 15� � � � � And aside from that, we have been under� � � � 16� � construction.� It's not a surprise that some people don't� � � � 17� � know about us, but we are getting there.� I am a staff of� � � � 18� � one.� We need a lot of support.� VICA, Humanities� � � � 19� � Council, everyone has been very supportive.� This is a� � � � 20� � huge building, and it needs many staff members and many� � � � 21� � board members, but this is an essential, viable resource� � � � 22� � we have here.� � � � 23� � � � � We are on the waterfront, 6,000 square feet of� � � � 24� � historic property that's been renovated.� We were lucky,� � � � 25� � we got a gold nugget.� A benefactor came and gave us the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 44� � � � 1� � building.� But now we are ready, we are at the cusp of� � � � 2� � really being a huge, you know, nonstop open hours every� � � � 3� � day, morning, noon, and night classes for the community.� � � � 4� � We do art exhibits, we do after school programs, and it's� � � � 5� � a huge viable resource, and I really wish people will� � � � 6� � help us.� Thank you.� � � � 7� � � � � � � AUDIENCE MEMBER:� � � Good morning.� My name is� � � � 8� � Olassie Davis.� I have a comment to make and plus my own� � � � 9� � experience.� It was almost ten years ago, came back from� � � � 10� � Trinidad giving a hike in Trinidad and it was Mario� � � � 11� � Moorehead that published a book.� I gave hike here on the� � � � 12� � island.� What is so interesting about it, in 1998 I� � � � 13� � cofounded a hiking association.� We have over 100� � � � 14� � members.� It's a booming industry throughout the world,� � � � 15� � particularly in the Caribbean and even here in the Virgin� � � � 16� � Islands.� I should say my package is over full at times� � � � 17� � of people want to hike.� The best way to see St. Croix is� � � � 18� � by foot.� My hike is basically holistic.� � � � 19� � � � � This year we just went to the Dominican Republic, so� � � � 20� � we take the group to the climbing to see their culture� � � � 21� � and it's a grand phenomena.� Within a week I get over 100� � � � 22� � e-mails from all over the world just to give hike, and I� � � � 23� � have to turn down.� It even have some of the hotel here� � � � 24� � asking me to give hike.� Because of my schedule -- this� � � � 25� � is a big, big industry.� This is one way of educating the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 45� � � � 1� � public about St. Croix.� Folks here in the Virgin Islands� � � � 2� � be surprise they do not know the island; they don't know� � � � 3� � the history; they do not know that this place exist.� � � � 4� � It's just amazing to live on a small 84 square mile and� � � � 5� � they have no idea what they have here on the island.� � � � 6� � � � � What I do for the past more than 20 years, I write� � � � 7� � articles for The Daily News.� I take out thousands and� � � � 8� � thousands of school kids in the school and that go to� � � � 9� � UVI, and I hike throughout the entire St. Croix and� � � � 10� � entire Virgin Islands.� I trained the National Guard unit� � � � 11� � this past Sunday, so I work with the National Guard.� I� � � � 12� � work in the projects to preserve areas throughout the� � � � 13� � Virgin Islands, particularly St. Croix.� � � � 14� � � � � To me it's just fascinating when I hear Wayne and� � � � 15� � these individuals talk, there is great potential here,� � � � 16� � and we are not seeing it.� And that's what I want to� � � � 17� � address.� I always have on my hiking boots and ready to� � � � 18� � go right now.� Right across over there, there is an area� � � � 19� � that is very sacred, the Maroon Ridge area where our� � � � 20� � ancestors -- and here is a place that have a world� � � � 21� � heritage potential because it have the criteria of the� � � � 22� � culture part, the natural part, the historical part, and� � � � 23� � the marine environment.� Here it is, it is sitting right� � � � 24� � there.� � � � 25� � � � � We in the Virgin Islands have a gold mine.� We do� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 46� � � � 1� � not know we have a gold mine.� To me it's just amazing� � � � 2� � all the exciting just to hear people talk and we have so� � � � 3� � much information here.� � � � 4� � � � � It's so sad that many times I got to turn away� � � � 5� � individuals because of my schedule.� So what I do now, I� � � � 6� � do training.� I get Butcher and Raymond, many time I call� � � � 7� � these individual, someone come in from the island, right� � � � 8� � there, you guys take it over because of my schedule.� � � � 9� � It's a major, major demand in the Virgin Islands to give� � � � 10� � hikes throughout the entire Virgin Islands, not only� � � � 11� � hikes but also the water sport.� And that's an industry� � � � 12� � that's really, really booming throughout the Caribbean� � � � 13� � and throughout the world.� � � � 14� � � � � So I just went from my own experience, and decided to� � � � 15� � start a hiking association, and it just mushroomed now.� � � � 16� � And people from all walks of life contact me on my e-mail� � � � 17� � just to be part of the association and just to see� � � � 18� � St. Croix, and so by foot you see this island much better� � � � 19� � than driving.� � � � 20� � � � � � � DR. PETERSEN:� � I want to point out we � � � � 21� � have no venomous snakes, no mountain lions, no� � � � 22� � alligators, so hiking is pretty safe here on St. Croix.� � � � 23� � � � � � � MR. HELMS:� � Two minutes here please, because� � � � 24� � we are running out of time now.� � � � 25� � � � � � � AUDIENCE MEMBER:� � � Good afternoon.� My name� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 47� � � � 1� � is Celeste Ford.� And what I have been doing recently is� � � � 2� � been just writing and actually published a couple books.� � � � 3� � This is not about me and the books.� It's about our� � � � 4� � history and preserving it and the things we can do just� � � � 5� � like Olassie was just speaking about.� � � � 6� � � � � I just came back from New York.� This is an old� � � � 7� � paper they published.� It's called "New York Divided."� � � � 8� � What it was it was slavery in New York.� It was a whole� � � � 9� � thing, but besides the fact that it was a museum piece� � � � 10� � about slavery in New York, I noticed that all of the� � � � 11� � things that they basically sold, even the things that� � � � 12� � were not directly pertaining to that piece had to do with� � � � 13� � that era.� � � � 14� � � � � And I am saying that because recently when I came to� � � � 15� � see the V.I. Family Tree History piece where the� � � � 16� � photographs and everybody talked about the family tree,� � � � 17� � just before seeing that I had taken photographs that were� � � � 18� � in my possession of my grandfather and my great� � � � 19� � grandmother, and what I did with them is I started making� � � � 20� � cards.� You know go to the Indian reservations, they have� � � � 21� � cards.� You don't even have to go to the Indian� � � � 22� � reservations.� You can go to museums and some other� � � � 23� � places and you see these cards with this history.� � � � 24� � � � � We have so much here that we can package.� If we did� � � � 25� � that tour of the part of the island with the Maroon area,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 48� � � � 1� � if we did that, there are so many other things that� � � � 2� � connects to that.� So we have to start to look not just� � � � 3� � at one thing but again think outside the box.� Because� � � � 4� � how many of us here either know of someone that has a� � � � 5� � history here or know -- the children is a whole lesson� � � � 6� � there.� Talk about education in art.� Bring in a picture� � � � 7� � of your grandparents, great grandparents bring it in,� � � � 8� � draw a whole thing.� Let them draw that person, give a� � � � 9� � story about that person.� � � � 10� � � � � It's a whole process.� It doesn't stop with just one� � � � 11� � thing.� Think outside the box.� Just keep thinking,� � � � 12� � because other cultures come in other places and they make� � � � 13� � millions, and it's not just about the history or the� � � � 14� � money that they came with.� Some don't have a dime when� � � � 15� � they get places, and you want to know how they get to� � � � 16� � where they are going, because they come in with a whole� � � � 17� � different vision of the place they step foot on.� They� � � � 18� � see things that they have never seen before.� � � � 19� � � � � � � MR. HELMS:� � Sorry we have to.� Thank you� � � � 20� � very much.� � � � 21� � � � � I think with this last words, I think we all totally� � � � 22� � agree we have to do something ourselves as soon as� � � � 23� � possible, because there is no meantime.� We have to start� � � � 24� � tomorrow, well today.� Thank you very much.� � � � 25� � � � � � � (Time noted 12:10 p.m.)� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 49� � � � 1� � � � � � � � � � � CERTIFICATE OF REPORTER� � � � 2� � � � 3� � � � � I, Yvonne Samuel-Setorie, Registered Professional� � � � 4� � Reporter, do hereby certify that the above-named� � � � 5� � conference was taken by me in machine shorthand and� � � � 6� � represents the official transcript of said conference;� � � � 7� � and that said transcription is true and correct.� � � � 8� � � � � In witness whereof, I have hereunto subscribed my� � � � 9� � hand.� � � � 10� � � � 11� � � � 12� � � � � � � � � � � � � � _____________________________� � � � � � � � � � � � � � � � � � � YVONNE SAMUEL-SETORIE, RPR� � � � 13� � � � 14� � � � 15� � � � 16� � � � 17� � � � 18� � � � 19� � � � 20� � � � 21� � � � 22� � � � 23� � � � 24� � � � 25 -----Inline Attachment Follows-----� � � � � � � � � � � � THE VIRGIN ISLANDS HUMANITIES COUNCIL� � � � � � � � � � � WTP CULTURAL HERITAGE TOURISM CONFERENCE� � � � � � � � � � THE FUTURE OF THE PAST:� THE BUSINESS CULTURAL� � � � � � � � � � � � � � � � � � HERITAGE TOURISM� � � � � � � � � � � � � � � � � September 14, 2007� � � � � � � � � � � � � � � � Carambola Beach Resort� � � � � � � � � � � � � � St. Croix, U.S. Virgin Islands� � � � � � � � � � � � � � � � 1:30 p.m. - 3:04 p.m.� � � � � � � � � � � � � � � � � MEDIA ROUND TABLE� � � � � � � � � � � � � � EDWARD LaBORDE, Jr., Moderator� � � � � � � � � � � � � � GLORIA GUMBS, Panelist� � � � � � � � � � � � � � JAMES O'BRYAN, JR., Panelist� � � � � � � � � � � � � � � ELITE REPORTING SERVICES� � � � � � � � � � � � � � � � � � P.O. Box 5619� � � � � � � � � � � � � � � � Christiansted, St. Croix� � � � � � � � � � � � � � � U.S. Virgin Islands� 00823� � � � � � � � � � � � � � � � � � (340) 713-1318� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2� � � � 1� � � � � � � MR. LaBORDE:� � Good afternoon, everyone.� � � � 2� � � � � � � (Response.)� � � � 3� � � � � � � MR. LaBORDE:� � Thanks for coming to this� � � � 4� � Media Round Table.� My name is Ed LaBorde, Jr.� I'll just� � � � 5� � start off by telling you a little bit about who I am� � � � 6� � briefly.� I'm a filmmaker.� That's what I do, among other� � � � 7� � things.� I might do a little something here and there. � I� � � � 8� � worked a lot with this conference, worked with Tourism,� � � � 9� � and I'm down playing that side because there is something 1� � Willemstad, the capital city of Curacao was started.� � � � 2� � Otrabanda means the other side.� � � � 3� � � � � This started as a protestant neighborhood, and in� � � � 4� � around the '30s, '40s, most of the people who used to� � � � 5� � live there was most of them they were rich merchants, and� � � � 6� � finally they left the whole neighborhood because of the� � � � 7� � maintenance of the buildings.� So, finally, in the '60s,� � � � 8� � '70s it was really, really bad situation over there. � And� � � � 9� � that's how we found this whole neighborhood.� That was ten� � � � 10� � years ago.� That was when Mr. Jacob Gelt Dekker; he is� � � � 11� � the owner of the whole property, when he came to the� � � � 12� � island, he was there to visit some of his friends over� � � � 13� � there, and finally he fell in love with the island, so he� � � � 14� � began to look around if he could find a house or to build� � � � 15� � a house for himself when he was on the island; so,� � � � 16� � finally, he ended up in Otrabanda.� � � � 17� � � � � In that period this was a no go area.� It was� � � � 18� � really, really dangerous over there.� When there was� � � � 19� � tourists on the island, all the hotels and hotel� � � � 20� � operators told the people, please don't go there because� � � � 21� � it's very, very dangerous.� � � � 22� � � � � Mr. Dekker he had a vision.� He had an idea, well,� � � � 23� � we can do something over there.� So what we started is we� � � � 24� � start to restore his house, the mansion.� That was one of� � � � 25� � the biggest houses in the whole neighborhood.� It is 28� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4� � � � 1� � blocks, but it was an organic thing.� It was not an� � � � 2� � effort, the whole intention to have a big area over there� � � � 3� � like we have now.� So we started with the restoration of� � � � 4� � the mansion, and during that restoration, it was the� � � � 5� � restoring for two years.� � � � 6� � � � � During that restoration we discovered in the history� � � � 7� � books that was the place where slaves arrived when they� � � � 8� � came to Curacao.� So from that moment we decide, okay, if� � � � 9� � this is such a historical place, we have to make museum� � � � 10� � over there.� So we started with the museum.� There was no� � � � 11� � collection, there was nothing.� So I stayed there as the� � � � 12� � architect, and Mr. Dekker he went into the world to� � � � 13� � purchase all this documents and all this objects and� � � � 14� � artifacts we have now.� � � � 15� � � � � We did that only in nine months to build up the� � � � 16� � whole museum, his house, because the museum is also part� � � � 17� � of his house.� And we did it only in nine months, and it� � � � 18� � was so important for us, because this was the anchor.� � � � 19� � That's what we always say, you have to put an anchor to� � � � 20� � start with, and that's also one of our small things we� � � � 21� � always say, think big but start small, because start. � If� � � � 22� � you only keep big thinking, nothing will happen.� And� � � � 23� � that's what you see on almost most all the islands here,� � � � 24� � the plans are so big and there is no money.� Of course,� � � � 25� � there is no money, and even in this case, okay, this� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5� � � � 1� � whole project was financed by private money, but then you� � � � 2� � have to show the people that you are really willing to do� � � � 3� � something.� So start small and keep big thinking.� � � � 4� � � � � We had the mansion and we had the museum.� The� � � � 5� � moment we had this collection in of the museum, people� � � � 6� � start to talk about in museums and universities all over� � � � 7� � the world, because we have a very special collection now.� � � � 8� � We can say we are the biggest museum on slavery in the� � � � 9� � world, and the biggest museum on African art here in the� � � � 10� � Caribbean.� So that's something really special.� � � � 11� � � � � So people start to talk about it.� We have the idea� � � � 12� � if there is so many interest in what we are doing here in� � � � 13� � this subject, we have to do a little bit more.� The whole� � � � 14� � idea became to make a conference center, to organize� � � � 15� � seminars, conference and things like that to bring people� � � � 16� � to the island.� � � � 17� � � � � So we started to build conference center.� That's� � � � 18� � totally new build.� There was nothing there on the spot,� � � � 19� � and so we build totally new.� Halfway the conference� � � � 20� � center, we decide if there are so many people interested,� � � � 21� � also we have to make something like an institute.� That� � � � 22� � was a restoration.� We could buy a huge building, and� � � � 23� � that was also restoration for two years, and that's where� � � � 24� � we put the architect institute with the idea to bring� � � � 25� � students and other people from all over the world to� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6� � � � 1� � Curacao and also the way of tourism.� � � � 2� � � � � And then became the idea okay when we almost finish� � � � 3� � with the institute, we have people coming all over for� � � � 4� � conferences, we have people coming, students coming over� � � � 5� � for the institute, so we need a hotel.� And at that� � � � 6� � moment we had the possibility there was a small hotel� � � � 7� � next to us, and that went bankrupt so we could buy that,� � � � 8� � plus we still had this whole neighborhood that was only� � � � 9� � ruins.� It was in very, very bad condition.� So we start� � � � 10� � to buy that also, block by block, and that way we cleaned� � � � 11� � up this whole neighborhood and we made it from nothing� � � � 12� � into something.� Because now we have really, we have� � � � 13� � something, and it's really what people are saying now� � � � 14� � what is said by tourists if you had been on Curacao, you� � � � 15� � didn't see Curacao, you didn't see Curacao.� So that's� � � � 16� � really making something out of nothing.� � � � 17� � � � � That's what you basically will see on the DVD, how� � � � 18� � this whole transformation from a ghetto, because it was� � � � 19� � very, very dangerous.� We had many times we had guns on� � � � 20� � our head, we had knives on our throat, and now this whole� � � � 21� � neighborhood is totally, totally clean.� Again, what we� � � � 22� � did, we made an anchor, we put an anchor over there,� � � � 23� � because now that's something we hope that should happen� � � � 24� � is that what you see in the whole neighborhood that there� � � � 25� � are more and more people that are going to restore their� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7� � � � 1� � houses; the streets are clean.� There are now what we� � � � 2� � call in Curacao no jollers (phonetic) on the street, no� � � � 3� � junkies on the street anymore.� � � � 4� � � � � Also, in the shopping street, we see that the people� � � � 5� � are selling much, much better quality articles.� This� � � � 6� � whole neighborhood is growing, and what you see even now,� � � � 7� � because next to us they also started with a new hotel,� � � � 8� � and also a little bit further on the old reef, this also� � � � 9� � we going to have new hotel, 250 rooms.� So you see step� � � � 10� � by step that this whole neighborhood is becoming one of� � � � 11� � the spots where you have to be in relation with what I� � � � 12� � told you, ten years ago you shouldn't be there, and now� � � � 13� � it is a place to be.� That's one of the things I really� � � � 14� � want to show you here.� � � � 15� � � � � It's a little bit what was told a while ago for the� � � � 16� � next history that's worldwide.� That's also in a� � � � 17� � nutshell, that's also what we did in Curacao.� It's not� � � � 18� � only that we restore the buildings, because we have a� � � � 19� � hotel.� What you will see is in all these buildings is� � � � 20� � what you will see is where people used to live but that's� � � � 21� � now hotel rooms, and it's in the center of the old city,� � � � 22� � historical city of Willemstad, Curacao.� And it's not� � � � 23� � only a hotel, but also we have three restaurants in it;� � � � 24� � we have two swimming pools in it; we have three bars in� � � � 25� � it; we have galleries in it; we have shops in it.� It's� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8� � � � 1� � like a little village and how we call -- like we call it� � � � 2� � it's an experience, and that's what we call for whole� � � � 3� � Curacao, Curacao is an experience.� And I think that's� � � � 4� � one of the most important things, thinking about tourism.� � � � 5� � And now I go a little bit more into the subject, because� � � � 6� � it's tourism and art and entertainment and that's also� � � � 7� � what we do there.� � � � 8� � � � � Besides we have the museum, for the museum -- we� � � � 9� � started the museum, number one, for education.� What we� � � � 10� � saw when we came on the island, most of the children on� � � � 11� � the schools they knew exactly where Amsterdam is, but� � � � 12� � Africa they never heard of it.� That was also one of the� � � � 13� � reasons we have a huge collection of African art in� � � � 14� � museum to show the people, to show the children, look,� � � � 15� � because there is the big shame on the island.� People on� � � � 16� � the island they feel shame about slavery and feel shamed� � � � 17� � about they are from Africa.� � � � 18� � � � � What I saw here yesterday evening, I was so amazed� � � � 19� � to see that there are so many people they are so close� � � � 20� � linked to Africa, to all the nice African dresses.� � � � 21� � That's what we hope also that would happen in Curacao.� � � � 22� � You don't see that in the streets.� You don't.� � � � 23� � � � � I have some pictures in the museum that you can see� � � � 24� � the nice dreadlocks and the nice things in the hair.� I� � � � 25� � always tell them that's also part of your culture and� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9� � � � 1� � that's also part of what you see in Africa.� So that's� � � � 2� � one of the reasons we put museum over there.� � � � 3� � � � � I made five years ago an education program for all� � � � 4� � the schools in Curacao, and we give them free to them� � � � 5� � because then they also could learn and they could come to� � � � 6� � the museum.� First they start with this project in the� � � � 7� � schools, then they come to the museum, we give them a� � � � 8� � tour, and from there they finish that kind of project.� � � � 9� � � � � That's also what I do in the school holidays, I have� � � � 10� � a special program, what we call the children activities.� � � � 11� � That's every day I have 100 to 150 children in the museum� � � � 12� � and we do all different kind of projects with them, all� � � � 13� � related to the museum.� Because what I always say, the� � � � 14� � museum is like a buffet you can get, each visit you can� � � � 15� � take something from this table what is in the museum.� I� � � � 16� � have 150 children every day, and they have a meal over� � � � 17� � there and it's education and recreation, because it's� � � � 18� � very important for us.� � � � 19� � � � � It's also difficult for us because it's not only for� � � � 20� � the tourists that we do this, but also if this whole� � � � 21� � thing, this whole history, this not bedded in the� � � � 22� � people's mind, in the local people, if they don't push� � � � 23� � this around and if they are not aware of their own� � � � 24� � history, then it's so difficult to bring out this� � � � 25� � history, also for tourism.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 10� � � � 1� � � � � So that's one of the reasons what I did to get also� � � � 2� � the local people in.� I organized for it's now for one� � � � 3� � and a half years.� I organized local traditional culture� � � � 4� � nights, Noche Creole.� I have 100, 150, sometimes 200� � � � 5� � people.� It's all local people coming over there.� Now� � � � 6� � it's also more, because that's also where I try to focus� � � � 7� � on.� There is more and more local people that they are� � � � 8� � aware of their own history.� That's also what I am doing� � � � 9� � now for the last three years together with the� � � � 10� � government.� It's what they call the Casa Cultura, the� � � � 11� � Culture Department.� Every year we do a Semana Cultura.� � � � 12� � That's a cultural week, and that's really it's amazing to� � � � 13� � see, because now my idea it is something for the tourists� � � � 14� � to bring them, but what happened now all the local� � � � 15� � people, they start to take it for themselves.� � � � 16� � � � � What they do they go in nice traditional dresses in� � � � 17� � that week to their offices, and they make local foods and� � � � 18� � they give it to each other, and so it's bond of the� � � � 19� � community.� I am very happy with that, because now it's� � � � 20� � started from the community itself, and then finally I� � � � 21� � hope I can build it out.� That's also when we have� � � � 22� � tourists on the island that everybody -- everybody is a� � � � 23� � little bit too much, but most of the people they also --� � � � 24� � they will show their culture when they are on the street� � � � 25� � that really you feel part of the culture of Curacao.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 11� � � � 1� � � � � And that's also part of the arts is every Wednesday� � � � 2� � night I have a living history in the museum, especially� � � � 3� � for the tourists, and that's a show where we show the� � � � 4� � history of Curacao.� It's in three parts.� We start with� � � � 5� � the mom and dad, we have the slaves coming into the� � � � 6� � island, we have the small slave market.� The second part� � � � 7� � is where you see how we had the revolution and the� � � � 8� � evolution on the island.� And the third part you will see� � � � 9� � how the people use to live after the abolition.� This is� � � � 10� � also part of the culture, part of the art of the island.� � � � 11� � Well, that's the museum part.� � � � 12� � � � � And in the hotel, one of the things I created over� � � � 13� � there, that's what we call the Village Square.� That's a� � � � 14� � place because it's not a hotel like you see all over the� � � � 15� � world.� Really I can say that we are a unique in that,� � � � 16� � because it's like a village, and that's also the reason I� � � � 17� � made Village Square in the middle.� We are open, there is� � � � 18� � no gates that you have to go first to security or� � � � 19� � something like that.� No.� Everybody can walk in, and so� � � � 20� � it's a meeting point for local people and the tourists.� � � � 21� � So it's an easy way to meet each other often.� � � � 22� � � � � And to stimulate that, that's what I did the first� � � � 23� � three years I organized on the Village Square, I� � � � 24� � organized art markets, concert, classical concerts.� I� � � � 25� � invite people from Venezuela and other parts to make� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 12� � � � 1� � festivals over there.� Two years I had a choir festival,� � � � 2� � and I had 1,000 local people working over there.� This� � � � 3� � year I am going to do that again, children choir festival� � � � 4� � also, and it's all in our property.� � � � 5� � � � � You have to work on it, because like an example,� � � � 6� � when I started with this art market, I did it every� � � � 7� � Saturday, and then we finally what we call the snake� � � � 8� � affect, the other hotels also start to do it.� It doesn't� � � � 9� � make sense when these five people there doing the same.� � � � 10� � But I'm happy with that, let them do it, because that� � � � 11� � means for me they take it serious and then I can go for� � � � 12� � other things, but then it is there.� I don't have to do� � � � 13� � everything.� It's nice when people also they take it� � � � 14� � over.� That's what you will see if you organize.� That's� � � � 15� � again when I say think big but start small.� Do� � � � 16� � something, because it have to do it now.� If you wait� � � � 17� � until the big thing maybe will come, it never will come.� � � � 18� � That's very, very important, step by step, by step.� � � � 19� � � � � And that's also when I started to build two years� � � � 20� � ago, we have tourists on the island; we have cruise� � � � 21� � ships.� It took me three years, four years to get the� � � � 22� � cruise tourists into the museum.� I tried in all� � � � 23� � different place.� Finally, what I did I developed two� � � � 24� � tours myself, one city tour that starts in the city from� � � � 25� � the cruise ship, then they bring the people into the city� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 13� � � � 1� � and finally they walk through our property and ended up� � � � 2� � in the museum.� � � � 3� � � � � Another tour I developed it's called African� � � � 4� � Heritage Tour.� So we start in the museum, and then we� � � � 5� � bring the people in the buses to different spots on the� � � � 6� � island where you can see how this -- where we have this� � � � 7� � African heritage.� We go to a mansion how you can see how� � � � 8� � the people used to live and work on the plantation� � � � 9� � houses.� That's an experience.� And really I can see� � � � 10� � especially the black North American, they love that� � � � 11� � because that's the experience what they have on the� � � � 12� � island.� � � � 13� � � � � For instance, the impact of what the museum has is� � � � 14� � when we opened the museum, we had as one of the special� � � � 15� � guests, we had Doug Wilder.� Doug Wilder was the first� � � � 16� � black American governor in Virginia, and he was there,� � � � 17� � and he said, Jesus, this is the museum I want to have in� � � � 18� � the United States; and that's one of the things we� � � � 19� � working on now.� So you see how important it is that you� � � � 20� � do something and finally as an example.� Well, that's one� � � � 21� � of the things I want to share with you, and I hope come� � � � 22� � with questions, and I love to help you with this, because� � � � 23� � I see on this island a lot of possibilities, and --� � � � 24� � � � � � � AUDIENCE MEMBER:� � � Where does the funding� � � � 25� � come from?� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 14� � � � 1� � � � � � � MR. HELMS:� � This is all private money. � That� � � � 2� � was the only thing to do, because that was also what we� � � � 3� � told the people from the government.� Of course, we� � � � 4� � needed the permits to build and all that sort of thing.� � � � 5� � That's another thing, what we really did and that's why� � � � 6� � we have this nice dialogue, the future of the past.� � � � 7� � � � � What you will see is what we did with the past, we� � � � 8� � build a future.� We build a future by restoring all these� � � � 9� � buildings, because it should have been much, much cheaper� � � � 10� � if we tear down all this building and build something� � � � 11� � totally new.� What we did, where I had the possibility to� � � � 12� � do a restoration, to restore a building, I did it.� And� � � � 13� � that was for 98 percent of the buildings, you will see� � � � 14� � that was all restored.� And we had only two percent of� � � � 15� � new buildings, but it's also in the historical alley.� � � � 16� � You don't see the difference between it.� That was very,� � � � 17� � very important for me to do it in that way.� � � � 18� � � � � To come back on your question, it's all private� � � � 19� � money, because if we should wait for subsidizing and all� � � � 20� � that kind of things, it never should happen.� That's also� � � � 21� � what we told people from government, okay, give us one� � � � 22� � permit to do the whole thing.� Because they also, they� � � � 23� � knew it, the government doesn't have the money, and they� � � � 24� � never will have the money to do this.� So that's also one� � � � 25� � of the things we are working on on the island.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 15� � � � 1� � � � � And we have many times the owner, he goes to� � � � 2� � lectures and tells the people also from the island and� � � � 3� � can you imagine that now they pronounced him the persona� � � � 4� � non grata because he was telling the people -- because� � � � 5� � there is a lot of corruption on the island.� He doesn't� � � � 6� � keep his mouth, because what he telling them is what you� � � � 7� � need is investors.� As government you don't have the� � � � 8� � money to do that, so if you are trying to get investors� � � � 9� � in a climate with a lot of corruption and fraud and that� � � � 10� � all kind of thing, there is no investor who wants to do� � � � 11� � that.� You see it now because where we were waiting for� � � � 12� � was the connection with Holland, and now they signed for� � � � 13� � it and the interest is there; they are coming; they are� � � � 14� � waiting.� � � � 15� � � � � That's basically it.� We first have the DVD to give� � � � 16� � you a little bit impression what we did over there, and� � � � 17� � then Wayne will take it over.� � � � 18� � � � � � � (Off the record to show DVD.)� � � � 19� � � � � � � MR. HELMS:� � Thank you very much, I hope this� � � � 20� � will be an inspiration.� If you looking for someone to� � � � 21� � help you, here I am.� � � � 22� � � � � � � MR. JAMES:� � Good afternoon.� � � � 23� � � � � � � (Response.)� � � � 24� � � � � � � MR. JAMES:� � Most of you in here know me, so� � � � 25� � I will spare the introduction.� I think one of the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16� � � � 1� � messages from Mr. Helms' presentation is the simple fact� � � � 2� � is you can't underestimate the power of the individual.� � � � 3� � I think to a large extent we oftentimes feel as if� � � � 4� � somebody else have to come in to do the something else,� � � � 5� � and before you know it, you become one of those people.� � � � 6� � I remember as a child saying, you know, they don't do,� � � � 7� � they don't do this, or they haven't done this, and then� � � � 8� � you become 30 and then you become 40 and then you realize� � � � 9� � that you are one of the theys that you used to talk� � � � 10� � about.� And the individual is oftentimes the source of� � � � 11� � progress.� � � � 12� � � � � I mean, if you look back at history, it is always� � � � 13� � some one person who did something that thousands of other� � � � 14� � people should have done.� Why that person does that, how� � � � 15� � that person gets that done oftentimes we don't know,� � � � 16� � oftentimes he or she doesn't know.� The fact is though� � � � 17� � that if you just sort of wait for those wonderful, great� � � � 18� � individuals to emerge, whenever they do and oftentimes� � � � 19� � they can come once in a lifetime, too much of history,� � � � 20� � too much of culture, it gets lost.� � � � 21� � � � � I had the pleasure of being in Curacao when a lot of� � � � 22� � this was first taking place, and there was lots of� � � � 23� � resistance from the local population because of the face� � � � 24� � of the person who was making much of the change.� And� � � � 25� � some of those criticisms were legitimate, some were not,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 17� � � � 1� � and that's life.� No good deed goes unpunished.� But� � � � 2� � ultimately it got done, and it was almost a by any means� � � � 3� � necessary sort of way.� The man had a vision, and he did� � � � 4� � what had to be done to bring forth that vision.� � � � 5� � � � � I think though, as Melody asked, Ms. Rames, she� � � � 6� � asked what was the funding source.� That's a very real� � � � 7� � thing.� In Curacao there is Punda and then there is� � � � 8� � Otrabanda on the other side.� Well, in our situation� � � � 9� � here, we have wonderful historic architecture.� We have a� � � � 10� � wonderful designation that is really a sleeping giant,� � � � 11� � but just like how there is the other side, the issue for� � � � 12� � us is in the meantime.� What do we do in the meantime?� � � � 13� � What do we do until the big bad government comes and� � � � 14� � decides to take Frederiksted block by block and restore� � � � 15� � it or Christiansted street by street and restore it, what� � � � 16� � do we do in the meantime?� What do we do until some� � � � 17� � multibillionaire decides to come to St. Croix, falls in� � � � 18� � love with the island and then fix everything up?� � � � 19� � � � � What we have learned from life and from history is� � � � 20� � that if you wait until one of those things decides to� � � � 21� � come forward, lots of things get lost, things disappear,� � � � 22� � and before you know it, when you finally do get this� � � � 23� � utopian situation to take place, you have half of the� � � � 24� � history and half of what you had to begin with.� � � � 25� � � � � I gave a talk a few years ago on how I would market� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 18� � � � 1� � St. Croix as it is right now.� And you know I come from� � � � 2� � Frederiksted, and Frederiksted has very little going on.� � � � 3� � As a matter of fact, you know we did that wonderful� � � � 4� � project on the waterfront, and it's one of the most� � � � 5� � beautiful waterfronts in the Caribbean, period.� And I� � � � 6� � live upstairs in a wonderful house on the waterfront, and� � � � 7� � the fact is you can run a race down Strand Street on any� � � � 8� � given day, because somehow we didn't look at the� � � � 9� � practical elements to redeveloping the waterfront.� � � � 10� � � � � For example, the prime areas of the waterfront today� � � � 11� � are occupied by banks.� Banks close at three o'clock on a� � � � 12� � good day, and they don't open on weekends.� As a result,� � � � 13� � there is no life, night life on Strand Street.� That� � � � 14� � waterfront is so beautiful that there are people who will� � � � 15� � come from all parts of the world, see that beautifully� � � � 16� � unused space and think that we are all crazy people for� � � � 17� � not having nightclubs, restaurants, cafes.� � � � 18� � � � � I mean, the park that where the sprinkler comes on� � � � 19� � every night, it suppose to have people in it under� � � � 20� � umbrellas having dinner and enjoying the waterfront and� � � � 21� � having music, and young musicians on this island, young� � � � 22� � boys who have nothing to do at night, should be able to� � � � 23� � come out into that park, set up a little steel band and� � � � 24� � play, like serenade.� It happens all over the world.� � � � 25� � Whether you go onto the Walking Street in Copenhagen or� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 19� � � � 1� � you go on Colon in Ecuador, musicians, artists set up.� � � � 2� � That doesn't happen here, because we somehow didn't� � � � 3� � recognize the need to rezone the waterfront, because the� � � � 4� � powerful families from Frederiksted, we all know who we� � � � 5� � are, all of that stuff, people want sure rent and banks� � � � 6� � tend to pay.� What happens is who doesn't have money, if� � � � 7� � it's a bank.� The problem though is we have our� � � � 8� � waterfront where the landlords are making their monthly� � � � 9� � rent, but the whole waterfront is underutilized by the� � � � 10� � entire population.� So who in the long run loses,� � � � 11� � St. Croix.� � � � 12� � � � � As I was saying in that speech that I gave a few� � � � 13� � years ago, if I had come from the midwest in the 1930s� � � � 14� � when the farm lands had been over farmed and there was� � � � 15� � nothing but tumbleweed blowing across the midwest, if I� � � � 16� � had to market the midwest, I would have market that very� � � � 17� � thing, the tumbleweed.� � � � 18� � � � � Who in this room hasn't seen a western movie and� � � � 19� � became fascinated by tumbleweed?� It's the iniquitous� � � � 20� � tumbleweed that rolls across the street in the middle of� � � � 21� � the morning, and after the tumbleweeds there is going to� � � � 22� � be a shoot out.� We know it.� It has almost become an� � � � 23� � icon of the depressed midwest or the depressed west.� � � � 24� � � � � Well, here we are in Frederiksted with Strand� � � � 25� � Street, and we have nothing much going on.� If I had to� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 20� � � � 1� � market Strand Street, I will go and market the very fact� � � � 2� � that there is nothing going on on Strand Street, because� � � � 3� � there are lots of people who want to come to a place� � � � 4� � where there is nothing going on.� They simply want to� � � � 5� � relax.� And we do that until there is something going on,� � � � 6� � and then you market that next thing; but in the meantime,� � � � 7� � which is the other side to Otrabanda, our slogan should� � � � 8� � be in the meantime, in the meantime what do you do.� � � � 9� � � � � I will go up -- just like how Mr. Helms went and� � � � 10� � showed the before and after, I would go up by Marley� � � � 11� � where there is a family of chickens that have lived there� � � � 12� � from time in memorial, because they been there ever since� � � � 13� � I been there.� When a mother hen in Frederiksted crosses� � � � 14� � the street, she does it with a boldness like I am sure� � � � 15� � nothing is going to come to run me over because there is� � � � 16� � nothing here to run me over.� So you film this hen with� � � � 17� � her chicks crossing a street in a historic town.� You� � � � 18� � tell people, when you want to come to a wonderful place� � � � 19� � where nothing is going on, and you want to relax and have� � � � 20� � your children play in the streets because there is no� � � � 21� � traffic to run them over, come to St. Croix and they� � � � 22� � will.� � � � 23� � � � � It's like the Persians have a saying, "You can catch� � � � 24� � fish in muddy water."� In other words, make the best of� � � � 25� � what you have.� If you get lemon, make lemonade.� We all� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 21� � � � 1� � know the stuff.� � � � 2� � � � � � � MR. HELMS:� � Maximize what you have.� � � � 3� � � � � � � MR. JAMES:� � Exactly.� Whatever it is, make� � � � 4� � the best of it.� � � � 5� � � � � I think in order for us to understand how to present� � � � 6� � ourselves, we have to first of all be proud of who we� � � � 7� � are.� I mean, if you don't fundamentally feel good about� � � � 8� � yourself, your culture, your people, your history, you� � � � 9� � wouldn't sell it right.� You just wouldn't, because you� � � � 10� � are ashamed of half the stuff, you don't understand the� � � � 11� � other half, and the parts in-between, you don't know.� � � � 12� � � � � If you look at how countries market themselves, what� � � � 13� � do they really show.� They show their essence.� The first� � � � 14� � thing you want to know about a culture is food, music,� � � � 15� � architecture, celebrations.� I mean if you look at Italy,� � � � 16� � every year you know that there is going to be that fight� � � � 17� � with the tomatoes, de Palio of Siena.� It's an event,� � � � 18� � it's isosteric.� It's just this thing that these people� � � � 19� � themselves do, but they have managed to take the running� � � � 20� � of the bulls in Spain and make people all over the world� � � � 21� � every single year fascinated by a crazy event, but there� � � � 22� � are people who will get onto a plane and go to Spain� � � � 23� � because of that.� � � � 24� � � � � There are people who will go to Italy to see the� � � � 25� � Palio of Siena where these horses that represent these� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 22� � � � 1� � various provinces come and race against each other almost� � � � 2� � to the death.� The deal is the first horse to cross the� � � � 3� � line is the winner, whether the jockey is on the back or� � � � 4� � not.� That's the rule.� � � � 5� � � � � And so when you think of Brazil, for example, I mean� � � � 6� � most people when they hear Brazil they think carnival.� � � � 7� � And if you ever been there, you understand exactly why.� � � � 8� � That really is a fantastic event.� � � � 9� � � � � These are cultures that are celebrating something� � � � 10� � about themselves that they love and that they think if I� � � � 11� � love it, other people will love it too.� � � � 12� � � � � When you think -- we are all -- many of us in here� � � � 13� � are Caribbean people, and we have all been in an airport.� � � � 14� � You open your mouth and people hear your accent, the� � � � 15� � first thing they ask you, Are you from Jamaica.� On a� � � � 16� � good day they ask you if you are from St. Thomas.� Never� � � � 17� � do they ask you if you are from St. Croix.� � � � 18� � � � � Now, let's just say to keep peace in the Virgin� � � � 19� � Islands for today, let's just go back to Jamaica, which� � � � 20� � is what they tell you to do, Come back to Jamaica.� I� � � � 21� � have one more minute, so I will wrap up.� Just take� � � � 22� � Jamaica, the wonderful thing about Jamaica is the fact� � � � 23� � that they have let the world know who they are.� When you� � � � 24� � ask a person about Jamaica, they can tell you their music� � � � 25� � is reggae, their food is jerk.� They tell you.� I mean,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 23� � � � 1� � somehow Jamaica has been able to define itself in very� � � � 2� � concrete terms.� � � � 3� � � � � We do the traditional marketing.� Our ads do a� � � � 4� � wonderful job of bringing you to the Caribbean in� � � � 5� � general, not to St. Croix in particular.� We do the� � � � 6� � traditional things like we have the farm trips for the� � � � 7� � travel agents, and they come down and they write these� � � � 8� � wonderful stories in travel magazines.� But let me tell� � � � 9� � you something, "How Stella Got Her Groove Back" did more� � � � 10� � for Jamaica's tourism than any ad or any article in any� � � � 11� � magazine, because it presented it in a different way and� � � � 12� � it presented it in a unique way.� � � � 13� � � � � And so what we need to do is by any means necessary� � � � 14� � and in the meantime figure out innovative ways,� � � � 15� � interesting ways to present St. Croix as we have it right� � � � 16� � now, and then when the towns get restored and when� � � � 17� � everything gets done just right, we fine another� � � � 18� � marketing plan.� I will be happy to entertain questions� � � � 19� � later.� � � � 20� � � � � � � MR. HELMS:� � Thank you, Mr. James.� � � � 21� � � � � Now a word from Mr. Petersen.� � � � 22� � � � � � � DR. PETERSEN:� � I don't know if I could� � � � 23� � follow Wayne.� I was going to give this long -- they� � � � 24� � asked me to come to talk about myself and what we do,� � � � 25� � what I have done concerning music and how it could relate� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 24� � � � 1� � to tourism and stuff like that.� Like Wayne, most of you� � � � 2� � know me.� I was born in Frederiksted and been a calypso� � � � 3� � singer and musician for quite a while, and besides being� � � � 4� � a veterinarian, now manages Island Center for the� � � � 5� � Performing Arts; and I guess that's where it ties into� � � � 6� � the arts and the tourism product.� � � � 7� � � � � Unlike Wayne, I think that things are happening in� � � � 8� � the waterfront in Frederiksted because just like him, I� � � � 9� � saw this beautiful project finished, no plans as to what� � � � 10� � to do with it, and noticed that just a few people take a� � � � 11� � little evening walk or early morning walk for exercise in� � � � 12� � this beautiful park.� And to that end, like Mr. Helms, I� � � � 13� � decided to start someplace.� � � � 14� � � � � And every Wednesday evening, Wayne, there is music� � � � 15� � in the park in Frederiksted sponsored by FEDA,� � � � 16� � Frederiksted Economic Development Association, and I� � � � 17� � arrange with my musician friends and other people in the� � � � 18� � performing arts to come and perform for a nominal fee.� � � � 19� � This has been going on for the last six months, where� � � � 20� � from 5:30, 6 o'clock in the evening there would be some� � � � 21� � performance there at the Clock Tower in the park in� � � � 22� � Frederiksted, and we do plan to extend it.� Maybe some� � � � 23� � time you will see a steel pan, a steel band playing in� � � � 24� � the park just to have some activities there in the park� � � � 25� � in Frederiksted.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 25� � � � 1� � � � � In addition to that, there are some other larger� � � � 2� � functions that are being planned there in the Strand� � � � 3� � Street.� You know HOVENSA had a big party there, and we� � � � 4� � are trying to do something again in November.� They are� � � � 5� � going to have a jazz festival on the park itself.� So I� � � � 6� � think that things are being done.� � � � 7� � � � � I sort of came up with the premise that do for� � � � 8� � yourself and others will come to enjoy the facility.� I� � � � 9� � think that's the way that I am doing with Island Center� � � � 10� � where institutions, some local program with the help of� � � � 11� � the V.I. Council of the Arts with the funding that they� � � � 12� � gave us, and we do get some donation from the public.� � � � 13� � It's a nonprofit organization, but when it's all said and� � � � 14� � done, Island Center supports just about all the nonprofit� � � � 15� � organizations on the island that have anything to do with� � � � 16� � performing arts.� You name it, the Music in Motion, the� � � � 17� � Caribbean Dance Company, Cruzan Dance, just about all the� � � � 18� � schools, the Complex, Free Will Baptist, the Seventh Day� � � � 19� � Adventist School, they have their graduations there at� � � � 20� � Island Center, and we have quite a number of other events� � � � 21� � that happens there.� We just had Step Africa with the� � � � 22� � V.I. Council of the Arts and Oliver, even Reichhold� � � � 23� � Center in St. Thomas come over and hold some of their� � � � 24� � events over here at Island Center.� And what we are� � � � 25� � trying to do is develop other in-house projects.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 26� � � � 1� � � � � Right now we have Voices in Praise, which is a� � � � 2� � choir, a local choir with local participants.� We are� � � � 3� � also trying to develop a symphony group.� We have� � � � 4� � Exclusive Dance, which is another dance group.� Most of� � � � 5� � you are familiar with Sunset Jazz.� That's where they do� � � � 6� � all their rehearsals before they go down and have that� � � � 7� � beautiful Sunset Jazz in Frederiksted.� � � � 8� � � � � One of the things I am particularly interested in� � � � 9� � that's in particular to this topic today is reviving the� � � � 10� � masqueraders.� Those of us that are older than 30 or 40� � � � 11� � years old know that on big holidays, Whit Monday,� � � � 12� � Memorial Day, Easter Monday, those days you would see the� � � � 13� � masqueraders all over Frederiksted.� I imagine� � � � 14� � Christiansted too.� I grew up in Frederiksted, so I could� � � � 15� � speak to that.� You had the masqueraders with the peacock� � � � 16� � feathers, with the wire mask and the tattered costumes� � � � 17� � with mirror on them with the bells on the ankle and stuff� � � � 18� � dancing through the streets of Frederiksted.� And you had� � � � 19� � people like Frank Charles and Mr. Drake reciting the� � � � 20� � Hamlet and holding the Sears Roebuck book and reciting� � � � 21� � like they are doing a big narration.� That sort of died� � � � 22� � out.� We are trying to revive that.� We have the costumes� � � � 23� � and things.� � � � 24� � � � � That type of thing I believe can have a great impact� � � � 25� � on the tourism product like we are speaking about where� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 27� � � � 1� � the tourists will come and want to see things we enjoy� � � � 2� � here on the island for ourselves.� I don't have to talk� � � � 3� � about quadrille music and quadrille because that's pretty� � � � 4� � well established here on the island.� They come and enjoy� � � � 5� � that.� They could come and enjoy the masqueraders.� They� � � � 6� � could come and enjoy the other local cultural dances.� � � � 7� � � � � I see PANKHA dance group is going to perform here� � � � 8� � today.� And you have Denbia Dance Group, that's Afro� � � � 9� � Caribbean dancers, then you have the quelbe band.� The� � � � 10� � Complex has a fantastic quadrille youth band that you� � � � 11� � heard last night.� We support them.� They do a concert� � � � 12� � every Christmas with the Ten Sleepless Nights.� � � � 13� � � � � I think that we have the product, we have the� � � � 14� � potential, all is for the students to become involved,� � � � 15� � and I think that it would greatly support our tourism� � � � 16� � industry once it gets going.� � � � 17� � � � � � � MR. HELMS:� � Thank you very much.� � � � 18� � � � � It sounds like you have it all, so develop it.� � � � 19� � � � � Ms. Mahoney.� � � � 20� � � � � � � MS. MAHONEY:� � Hello.� I am Betty Mahoney� � � � 21� � from St. Thomas, so I am outnumbered here.� I am the� � � � 22� � Executive Director of Virgin Islands Council on the Arts.� � � � 23� � We are the government agency within the Department of� � � � 24� � Planning and Natural Resources.� � � � 25� � � � � This young lady asked where does the money come� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 28� � � � 1� � from, where can the money come from.� We are one agency� � � � 2� � that can assistant artists, crafts people, anyone who is� � � � 3� � interested in developing their product.� One of the� � � � 4� � things that I dream of is a made here initiative where� � � � 5� � the local artists and crafts people, their products can� � � � 6� � be in hotel rooms.� We have no musicians -- very few� � � � 7� � musicians playing music.� Our music needs to be played in� � � � 8� � hotels, on beaches, and it needs to be played by our� � � � 9� � musicians.� Is it time for a musicians' union?� Or how do� � � � 10� � we move to the next level here?� � � � 11� � � � � Our craft items, everything that is made in the� � � � 12� � Virgin Islands needs to be available to our visitors.� I� � � � 13� � don't care where they come from.� We have some of the� � � � 14� � most beautiful products available.� What is stopping us� � � � 15� � from having these products in hotels?� Those are the� � � � 16� � things that I would like to really explore.� Anybody who� � � � 17� � have ideas on how the council could help.� � � � 18� � � � � One other area I am thinking about that -- I may be� � � � 19� � a little crazy. -- is we can look at a percentage of our� � � � 20� � total income, even if it's just a penny of the� � � � 21� � government's operating budget or our EDC beneficiaries� � � � 22� � that goes to arts, culture, historic preservation.� I� � � � 23� � think that if we start there, we can build a nice little� � � � 24� � pocket of money that could really go forward and begin� � � � 25� � some of these projects, begin these projects -- bring� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 29� � � � 1� � these projects to fruition.� � � � 2� � � � � I need to certainly take a moment to say thank you� � � � 3� � and welcome to our board members, Claire Roker, Karen� � � � 4� � Thurland and Vernon Finch.� We have a nine member board� � � � 5� � pretty much like the Humanities; four from St. Thomas,� � � � 6� � four from St. Croix, one from St. John.� Anyone� � � � 7� � interested in serving on our board, please be in touch� � � � 8� � with me.� We have a few vacancies.� � � � 9� � � � � I come from the government side of the arts and� � � � 10� � culture, so I don't have the experience that these� � � � 11� � gentlemen have, but I do know this, as an executive� � � � 12� � director, while it is important for us to help the� � � � 13� � artists here, it is also important that we send our� � � � 14� � artists out.� And that has been one of the things that� � � � 15� � Virgin Islands Council on the Arts have been focusing on.� � � � 16� � We have local artists go as far as Italy, Venice.� We� � � � 17� � planning to target CARIFESTA.� So these are various� � � � 18� � international events that Virgin Islanders are very well� � � � 19� � represented at.� Artists, even those individuals who know� � � � 20� � of activities that are taking place and want to� � � � 21� � participate, please be in touch with us.� � � � 22� � � � � I am not going to take up a whole lot more time� � � � 23� � because there may be an issue of questions, but I just� � � � 24� � feel that we need to put some energy and artists� � � � 25� � themselves need to step to the plate and become active in� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 30� � � � 1� � what they can contribute.� And I believe very strongly� � � � 2� � that the product that I see coming out of tourism does� � � � 3� � not reflect our artists and our culture.� I think that� � � � 4� � needs to be changed.� � � � 5� � � � � � � MR. HELMS:� � One of the things I think that's� � � � 6� � what they did in Aruba to build up the whole thing. � They� � � � 7� � ask the whole population to pay one time 7 percent of the� � � � 8� � year income, make a pot out of that and from there you� � � � 9� � can start.� It's an idea.� � � � 10� � � � � It's time for some questions now.� � � � 11� � � � � � � AUDIENCE MEMBER:� � � I was trying not to be� � � � 12� � aggressive and start.� I am interested in the nuts and� � � � 13� � bolts of the project.� Are the buildings that were there,� � � � 14� � were they privately owned?� Was there some central� � � � 15� � organization that then purchased those or how --� � � � 16� � � � � � � MR. HELMS:� � No, it was all private own. � And� � � � 17� � probably you have the same system like we have in all the� � � � 18� � Caribbean that when the old people when they die, they� � � � 19� � give the houses to the children, and so most of the time� � � � 20� � it happened that we had 100, sometimes 150 of the� � � � 21� � relatives were involved in it, and we needed an authors� � � � 22� � from each of them to purchase all these houses because --� � � � 23� � � � � � � AUDIENCE MEMBER:� � � You did ultimately have� � � � 24� � to purchase them and then there is some central� � � � 25� � organization that now owns them or --� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 31� � � � 1� � � � � � � MR. HELMS:� � No, we own them ourselves. � It's� � � � 2� � all private.� � � � 3� � � � � � � AUDIENCE MEMBER:� � But there was a private� � � � 4� � company that purchased it from them?� � � � 5� � � � � � � MR. HELMS:� � No, we did it ourselves. � That's� � � � 6� � one of the things we had to do, because otherwise, if you� � � � 7� � don't have the autographs of all the family -- that� � � � 8� � happens with one house, we still waiting for that,� � � � 9� � because it seemed that one of the children he died, but� � � � 10� � he still on the register in Miami.� That's very� � � � 11� � difficult.� � � � 12� � � � � � � AUDIENCE MEMBER:� � � I think she is trying to� � � � 13� � ask who is the we.� You keep saying we, we had to buy� � � � 14� � them.� � � � 15� � � � � � � MR. HELMS:� � That's Mr. Dekker and me and the� � � � 16� � organization.� Well, the foundation, because -- sorry.� � � � 17� � We define the hotel part, that's we; and the museum and� � � � 18� � the institute, that's foundation, but it's all under the� � � � 19� � same umbrella.� � � � 20� � � � � � � AUDIENCE MEMBER:� � � Now, the foundation is� � � � 21� � managing it, and you are subleasing those spaces where� � � � 22� � the restaurants and that kind of thing are?� � � � 23� � � � � � � MR. HELMS:� � The restaurants we do ourselves,� � � � 24� � but the shops we lease that out, the spa we lease that� � � � 25� � out, and the rest is all run by ourselves.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 32� � � � 1� � � � � � � AUDIENCE MEMBER:� � � I'm a member of Our Town� � � � 2� � Frederiksted, and we are responsible for restoration.� � � � 3� � And one of the biggest problems we have is homes that are� � � � 4� � owned by several children, but they don't talk to one� � � � 5� � another or a member cannot sell without getting the� � � � 6� � others involved.� We thought that some of those homes� � � � 7� � could be turned into bed and breakfast or museums.� How� � � � 8� � do you get the individuals to come together to sell?� � � � 9� � � � � � � MR. HELMS:� � Try to convince them and invite� � � � 10� � on a conference like this so also they see how necessary� � � � 11� � it is that they have to participate in this thing to� � � � 12� � develop.� And that's the only thing you can do, because� � � � 13� � it's a private problem.� We had that also, and it was� � � � 14� � many, many fights.� � � � 15� � � � � Can you imagine when we started over there, it was� � � � 16� � not only -- because we had people in -- because it was� � � � 17� � the owners that we also we had the people, this� � � � 18� � derelicts, that went into these houses.� That was number� � � � 19� � one, to get them out, and we didn't want to have enemies.� � � � 20� � So I talked with them and I told them there is two� � � � 21� � possibilities, you have to go out, because it's not --� � � � 22� � first, it's not your house, and second, we have to do� � � � 23� � something that's good for the development and things like� � � � 24� � that.� I have to send you out, or there is another� � � � 25� � possibility, you come to work for me, and that's what I� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 33� � � � 1� � did.� � � � 2� � � � � In that variant, I trained 20 of these people who� � � � 3� � were living over there.� First they had to go to a rehab� � � � 4� � and then they come back, and I trained them to work as� � � � 5� � carpenters, brick layers, other kind of thing.� Even the� � � � 6� � biggest drug dealer in the whole neighborhood, we make� � � � 7� � him head of security, and that worked out very, very� � � � 8� � well.� It was his -- if you take these people out, you� � � � 9� � have enemies, and they steal from you, and it's a bad� � � � 10� � situation.� Now we are very proud because it's part of� � � � 11� � their lives and part of their neighborhood.� � � � 12� � � � � � � AUDIENCE MEMBER:� � � It's more of a comment,� � � � 13� � but there are for such a small place there are so many� � � � 14� � famous Virgin Islanders.� Not famous but people who have� � � � 15� � been the pioneers or the first in big companies or other� � � � 16� � things.� I remember visiting South Carolina for a� � � � 17� � business meeting, and I invited my sister Karen to come� � � � 18� � along.� We went on the African American tour.� They were� � � � 19� � going down the streets and, of course, South Carolina� � � � 20� � were built by black architects and the beautiful� � � � 21� � buildings they have.� But the tour guide said, Denmark� � � � 22� � Vesey, a slave, you know, he lived here and he had bought� � � � 23� � his freedom.� � � � 24� � � � � So Karen said, no, he wasn't from South Carolina.� � � � 25� � He was from St. Thomas, Virgin Islands.� The man said,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 34� � � � 1� � yes, yes, I know.� South Carolina claimed him.� � � � 2� � � � � I been to public health meetings and someone sat� � � � 3� � next to me, oh, you from St. Croix, Alexander Hamilton, I� � � � 4� � love to visit there and see where you live.� Even with� � � � 5� � our architecture and destination, something to attract� � � � 6� � people who have an interest to these people to visit us� � � � 7� � here.� I think that would work.� � � � 8� � � � � � � AUDIENCE MEMBER:� � � Good morning, I just want� � � � 9� � to thank the panelists for the information that they� � � � 10� � shared.� Piggybacking on what Mr. James said -- and I'm� � � � 11� � not sure what Karen's sister, if her last name is� � � � 12� � Thurland.� I think it is so important for to us come� � � � 13� � together and market the whole package.� That's what's� � � � 14� � missing, we are not marketing what we have.� Locals know� � � � 15� � about us.� And Dr. Petersen you mentioned about going in� � � � 16� � Frederiksted and talking and doing the music best in the� � � � 17� � park.� � � � 18� � � � � When we look at St. Thomas, what Mr. James said, the� � � � 19� � Greenhouse is right there, the tourists are there, and� � � � 20� � the real key here is having them come, because that's� � � � 21� � what drive this economy, new money, and they are not� � � � 22� � coming because they don't have a sense of purpose.� � � � 23� � � � � Going back to Mr. James, Frederiksted, you right,� � � � 24� � it's dead.� So maybe if we market that as a vacation� � � � 25� � place to relax, we will get people to come, we will be� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 35� � � � 1� � able to fill the street to listen to your music, and� � � � 2� � those people will sell our territory, because they will� � � � 3� � go back home and tell whomever about the wonderful time� � � � 4� � they had here.� � � � 5� � � � � We are not putting the money, the advertisement.� � � � 6� � 100 percent of it needs to be culturally linked, 100� � � � 7� � percent.� We need to put the money there, market the� � � � 8� � place, and let those people that visit us sell our place.� � � � 9� � � � � � � DR. PETERSEN:� � I agree.� � � � 10� � � � � � � AUDIENCE MEMBER:� � � Good morning.� I'm a� � � � 11� � retired vocational arts teacher.� My last name is� � � � 12� � Butcher, and my students used to tease me all the time� � � � 13� � about coming to the butcher shop.� I went to SBDC, and I� � � � 14� � took all the courses and stuff and I started a small� � � � 15� � business.� Now, my business is arts services.� Now, what� � � � 16� � I am finding out is in just like a lot of craft people� � � � 17� � here there is no workers.� � � � 18� � � � � The schools are not training artisans so that we� � � � 19� � have a work force so that we can produce these products.� � � � 20� � Because not even dealing with here, with the net we can� � � � 21� � sell our stuff away from here, but the problem is -- I� � � � 22� � went to the Department of Labor and I offered to train,� � � � 23� � you know, the people who are coming from welfare and� � � � 24� � other situations, and even working with the� � � � 25� � paraprofessionals to teach them the skills to be able to� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 36� � � � 1� � go into the classroom, be a substitute teacher or work in� � � � 2� � the after school programs to work and try to develop the� � � � 3� � arts, because without trained workers, we are in trouble.� � � � 4� � � � � As a designer and stuff, and I take business from� � � � 5� � people, I have to make sure for the liability in terms of� � � � 6� � loss of cost and stuff, I have to make sure that I can� � � � 7� � give the work to people that are trustworthy and have the� � � � 8� � skills.� � � � 9� � � � � So Ms. Mahoney, I am wondering if -- I went to� � � � 10� � Labor, they said I didn't fall -- art and crafts didn't� � � � 11� � fall underneath the industry needs.� There is no formal� � � � 12� � business that doesn't function without art, for� � � � 13� � presentation, illustrations, everything.� My thing is how� � � � 14� � do we get a training program so we can get more� � � � 15� � instructors into the school and after school programs and� � � � 16� � camps and stuff?� � � � 17� � � � � � � AUDIENCE MEMBER:� I would like to address that.� � � � 18� � I am an artist as well.� I would like to address that. � I� � � � 19� � am an artist, Janet Rutnick from St. John.� I was also in� � � � 20� � the Virgin Islands Cultural Heritage Institute for a� � � � 21� � number of years.� The craft question is very important.� � � � 22� � I think the main thing is that the Virgin Islands� � � � 23� � Government has not taken it upon themselves to identify� � � � 24� � and register indigenous Virgin Islands crafts.� � � � 25� � � � � I looked into this in San Juan and brought back� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 37� � � � 1� � their entire package on the process they went through for� � � � 2� � doing this, and it was all in Spanish.� It could have� � � � 3� � been.� I wanted the institute to take that on as a� � � � 4� � project.� Because once that happens and these crafts are� � � � 5� � sanctioned, then every government official that goes� � � � 6� � anywhere brings the coconut bird feeder or the Mocko� � � � 7� � Jumbie, whatever these things are, this provides revenue,� � � � 8� � interest, and credibility.� � � � 9� � � � � The other issue was the arts and what you were� � � � 10� � talking about.� There is no university level art� � � � 11� � department; however, there is tremendous interest.� � � � 12� � Anyone that has taught art or even is an artist, we are� � � � 13� � constantly approached by mothers and grandmothers,� � � � 14� � children are interested and they are looking for this.� � � � 15� � Without a university level art department, there is no� � � � 16� � art scholarship, no art history.� We have yet to find or� � � � 17� � documented Virgin Islands history.� This must be done.� � � � 18� � And Jamaica has done it.� � � � 19� � � � � There is a very simple motion you can start with.� � � � 20� � You can start with pre-Columbian art up to Tesoro art,� � � � 21� � and then you can add to it over the years; but you need� � � � 22� � scholarships, you need curation and you need --� � � � 23� � � � � � � MR. HELMS:� � Sorry to interrupt, don't wait� � � � 24� � for the government.� Maybe one of the panel want to have� � � � 25� � an answer on that.� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 38� � � � 1� � � � � � � MS. MAHONEY:� � I don't know -- when the� � � � 2� � Casino Commission was being reformed and we wanted art� � � � 3� � work to be in these hotels and to use the local products,� � � � 4� � the same exact thing that the gentleman talked about, we� � � � 5� � went to Labor to try to integrate the arts into this� � � � 6� � whole project, and we had the exact same problem.� It is� � � � 7� � up to us as a community to come together.� You are� � � � 8� � waiting for the government or somebody else, exactly what� � � � 9� � we were talking about, to do it.� Individual artists they� � � � 10� � formed corporations, they form nonprofits, they have all� � � � 11� � kind of artist associations.� � � � 12� � � � � � � AUDIENCE MEMBER:� � � Exactly.� I think that� � � � 13� � all those organizations like Humanities, like all the� � � � 14� � arts group, all of them should lobby the University of� � � � 15� � the Virgin Islands to have a university level full arts� � � � 16� � program.� And we have the Kean woman of St. Thomas, an� � � � 17� � entire family of artists.� We have the Galiber woman. � We� � � � 18� � have people who these departments a chair could be named� � � � 19� � in their memory and funding.� We can go out and support� � � � 20� � that, but we need an institution free from the� � � � 21� � marketplace to support scholarship curation and� � � � 22� � preservation.� � � � 23� � � � � � � MR. JAMES:� � Can I make a comment?� I agree� � � � 24� � in the sense that, Mr. Helms, you can't overlook the fact� � � � 25� � that the situation that occurred in Curacao was to some� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 39� � � � 1� � extent a stroke of luck.� I mean, you are in a situation� � � � 2� � where a particular Dutch man came to a particular Dutch� � � � 3� � island and invested a lot of his private money in� � � � 4� � something that he personally believed in.� The average� � � � 5� � destination doesn't have that formula.� And so the issue� � � � 6� � then for most people in this room is absent that magic� � � � 7� � formula, how do you get what you got done done.� � � � 8� � � � � And I think that as a destination you can't separate� � � � 9� � art from tourism.� I mean, it's like Paris separating� � � � 10� � itself from the Mona Lisa.� It's like Florence separating� � � � 11� � itself from Michael Angelo's David.� When you get down to� � � � 12� � it, art whether it's on a high level or a low level, it� � � � 13� � is the thing that defines you as a people.� � � � 14� � � � � � � MR. HELMS:� � I think that's one of the most� � � � 15� � important things, is that if you are talking about arts� � � � 16� � or talking -- I think arts is now at this moment on a� � � � 17� � high level, but I think first talk about handicraft,� � � � 18� � because handicraft, that's where most tourists they are� � � � 19� � looking for.� And, of course, arts it's wonderful, but� � � � 20� � it's on a higher level.� � � � 21� � � � � � � MR. JAMES:� � Right.� But I also think, what� � � � 22� � Ms. Rutnik is saying is that the government to some� � � � 23� � extent has to officially sanction something in the sense� � � � 24� � that it has already been tried and tested from time and� � � � 25� � memorial that art is critical and it defines a culture,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 40� � � � 1� � it defines a people.� � � � 2� � � � � And the fact is the average artist on this island� � � � 3� � has a complex because he knows that when he was in the� � � � 4� � kindergarten and they needed to cut back on programs� � � � 5� � because of funding, it was the art program that got cut� � � � 6� � back.� You got into high school and then you wanted to� � � � 7� � choose an elective, and it was the art program that� � � � 8� � wasn't available, and you could only get it after school� � � � 9� � once a week.� So you grew up in an environment where art� � � � 10� � is this thing that is relegated almost to nothing, and� � � � 11� � then when you turn around, it's really the art that frees� � � � 12� � you.� � � � 13� � � � � � � MR. HELMS:� � That's all over the world.� � � � 14� � Because art is not a money maker.� Everybody knows that.� � � � 15� � I have many areas in Europe.� You can't make real money� � � � 16� � with art.� It's nice to have it.� � � � 17� � � � � � � (Off the record.)� � � � 18� � � � � � � AUDIENCE MEMBER:� � I think, Ms. Rutnik, you� � � � 19� � have it, it has to be institutional.� � � � 20� � � � � I want to enlighten you to the Virgin Islands� � � � 21� � Council of the Arts embarking on a collective artist� � � � 22� � project in which we are right now looking into a venue on� � � � 23� � both districts for getting our arts way out into our� � � � 24� � communities.� We have done a tremendous amount of� � � � 25� � research, and we right now have a collaborative model� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 41� � � � 1� � with one of our major hotels and our housing community,� � � � 2� � and the Virgin Islands Housing Authority in Pearson� � � � 3� � Garden.� � � � 4� � � � � We cannot separate arts and the indigenous from the� � � � 5� � tourism.� It's a composite package.� We got to begin to� � � � 6� � merge and grow art in the Virgin Islands once again, and� � � � 7� � there are several ways of doing it.� And one of the� � � � 8� � things we are trying to embark on is arts in education,� � � � 9� � because we found through research and it is well-known,� � � � 10� � documented that there are people who are involved in arts� � � � 11� � in our school excel.� Achievement levels are risen.� � � � 12� � � � � So now the projects that we are now embarking on is� � � � 13� � to grow on.� In many respects it doesn't have to be in� � � � 14� � the museum.� We want to begin to look at art without� � � � 15� � walls.� And that's a project where we are working on� � � � 16� � right now, and is the involvement of our people with the� � � � 17� � tourist product.� � � � 18� � � � � � � MR. HELMS:� � Thank you very much.� � � � 19� � � � � � � Because of time we have to close it off.� I� � � � 20� � have these two ladies here.� � � � 21� � � � � � � Just really quick.� I am Priscilla Hintz with� � � � 22� � ArtFusion Magazine.� I just want to publicly thank the� � � � 23� � Virgin Islands Council on the Arts for supporting our� � � � 24� � publication and the artists in this community.� However,� � � � 25� � there is a huge perception, and I don't know if it's� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 42� � � � 1� � necessarily just here in the Virgin Islands, that art is� � � � 2� � just a hobby, that there isn't a real economic revenue� � � � 3� � that can be made through the arts.� And that's a real� � � � 4� � misconception and a perception that I think that we� � � � 5� � should come together both in the private sector and the� � � � 6� � nonprofit sector and the government sector to really� � � � 7� � start educating ourselves about the value, the economic� � � � 8� � value that arts can provide to a community.� � � � 9� � � � � It's unbelievable the numbers that places like New� � � � 10� � York City and Miami and Paris generate on the arts alone� � � � 11� � in that community.� So I think this a great forum for us� � � � 12� � to start dialoguing, but we need to put some actions and� � � � 13� � plans together to really focus on the economic value that� � � � 14� � the arts can provide.� Thank you.� � � � 15� � � � � � � MR. HELMS:� � Thank you very much.� You are� � � � 16� � totally right.� � � � 17� � � � � � � AUDIENCE MEMBER:� � � Good morning, everybody.� � � � 18� � My name is Emily Graci.� I am the Development Director� � � � 19� � for Caribbean Museum Center for the Arts.� When Mr. James� � � � 20� � was talking about recognizing the assets that we have,� � � � 21� � and saying there is nothing going on in Frederiksted, I'd� � � � 22� � like to kind of shed some light on that, and explain that� � � � 23� � we have planted some very important seeds in� � � � 24� � Frederiksted.� We have Whim Museum, we have Fort� � � � 25� � Frederik, and we have the Caribbean Museum Center for the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 43� � � � 1� � Arts.� � � � 2� � � � � You guys are all talking about promoting art work,� � � � 3� � continuing the heritage, continuing the generation of� � � � 4� � students creating this art work.� That's what we are� � � � 5� � doing at Caribbean Museum Center for the Arts.� We have� � � � 6� � an after school program.� It's called Promoting Literacy� � � � 7� � Through the Arts.� � � � 8� � � � � I have a little display that the students made over� � � � 9� � there where they brought actual culture bearers from the� � � � 10� � community into the classrooms and at the after school and� � � � 11� � summer program.� Mind you it's free, funded by a huge� � � � 12� � federal grant, Institute of Museum and Library Services.� � � � 13� � But we are essentially creating the next generation of� � � � 14� � students creating these heritage art forms.� � � � 15� � � � � And aside from that, we have been under� � � � 16� � construction.� It's not a surprise that some people don't� � � � 17� � know about us, but we are getting there.� I am a staff of� � � � 18� � one.� We need a lot of support.� VICA, Humanities� � � � 19� � Council, everyone has been very supportive.� This is a� � � � 20� � huge building, and it needs many staff members and many� � � � 21� � board members, but this is an essential, viable resource� � � � 22� � we have here.� � � � 23� � � � � We are on the waterfront, 6,000 square feet of� � � � 24� � historic property that's been renovated.� We were lucky,� � � � 25� � we got a gold nugget.� A benefactor came and gave us the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 44� � � � 1� � building.� But now we are ready, we are at the cusp of� � � � 2� � really being a huge, you know, nonstop open hours every� � � � 3� � day, morning, noon, and night classes for the community.� � � � 4� � We do art exhibits, we do after school programs, and it's� � � � 5� � a huge viable resource, and I really wish people will� � � � 6� � help us.� Thank you.� � � � 7� � � � � � � AUDIENCE MEMBER:� � � Good morning.� My name is� � � � 8� � Olassie Davis.� I have a comment to make and plus my own� � � � 9� � experience.� It was almost ten years ago, came back from� � � � 10� � Trinidad giving a hike in Trinidad and it was Mario� � � � 11� � Moorehead that published a book.� I gave hike here on the� � � � 12� � island.� What is so interesting about it, in 1998 I� � � � 13� � cofounded a hiking association.� We have over 100� � � � 14� � members.� It's a booming industry throughout the world,� � � � 15� � particularly in the Caribbean and even here in the Virgin� � � � 16� � Islands.� I should say my package is over full at times� � � � 17� � of people want to hike.� The best way to see St. Croix is� � � � 18� � by foot.� My hike is basically holistic.� � � � 19� � � � � This year we just went to the Dominican Republic, so� � � � 20� � we take the group to the climbing to see their culture� � � � 21� � and it's a grand phenomena.� Within a week I get over 100� � � � 22� � e-mails from all over the world just to give hike, and I� � � � 23� � have to turn down.� It even have some of the hotel here� � � � 24� � asking me to give hike.� Because of my schedule -- this� � � � 25� � is a big, big industry.� This is one way of educating the� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 45� � � � 1� � public about St. Croix.� Folks here in the Virgin Islands� � � � 2� � be surprise they do not know the island; they don't know� � � � 3� � the history; they do not know that this place exist.� � � � 4� � It's just amazing to live on a small 84 square mile and� � � � 5� � they have no idea what they have here on the island.� � � � 6� � � � � What I do for the past more than 20 years, I write� � � � 7� � articles for The Daily News.� I take out thousands and� � � � 8� � thousands of school kids in the school and that go to� � � � 9� � UVI, and I hike throughout the entire St. Croix and� � � � 10� � entire Virgin Islands.� I train the National Guard unit� � � � 11� � this past Sunday, so I work with the National Guard.� I� � � � 12� � work in the projects to preserve areas throughout the� � � � 13� � Virgin Islands, particularly St. Croix.� � � � 14� � � � � To me it's just fascinated when I hear Wayne and� � � � 15� � these individuals talk, there is great potential here,� � � � 16� � and we are not seeing it.� And that's what I want to� � � � 17� � address.� I always have on my hiking boots and ready to� � � � 18� � go right now.� Right across over there, there is an area� � � � 19� � that is very sacred, the Maroon Ridge area where our� � � � 20� � ancestors -- and here is a place that have a world� � � � 21� � heritage potential because it have the criteria of the� � � � 22� � culture part, the natural part, the historical part, and� � � � 23� � the marine environment.� Here it is, it is sitting right� � � � 24� � there.� � � � 25� � � � � We in the Virgin Islands have a gold mine.� We do� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 46� � � � 1� � not know we have a gold mine.� To me it's just amazing� � � � 2� � all the exciting just to hear people talk and we have so� � � � 3� � much information here.� � � � 4� � � � � It's so sad that many times I got to turn away� � � � 5� � individuals because of my schedule.� So what I do now, I� � � � 6� � do training.� I get Butcher and Raymond, many time I call� � � � 7� � these individual, someone come in from the island, right� � � � 8� � there, you guys take it over because of my schedule.� � � � 9� � It's a major, major demand in the Virgin Islands to give� � � � 10� � hikes throughout the entire Virgin Islands, not only� � � � 11� � hikes but also the water sport.� And that's a industry� � � � 12� � that's really, really booming throughout the Caribbean� � � � 13� � and throughout the world.� � � � 14� � � � � So I just want from my own experience, decide to� � � � 15� � start a hiking association, and it just mushroom now.� � � � 16� � And people from all walk of life contact me on my e-mail� � � � 17� � just to be part of the association and just to see� � � � 18� � St. Croix, and so by foot you see this island much better� � � � 19� � than driving.� � � � 20� � � � � � � DR. PETERSEN:� � I want to point out we don't� � � � 21� � have no venomous snakes, no mountain lions, no� � � � 22� � alligators, so hiking is pretty safe here on St. Croix.� � � � 23� � � � � � � MR. HELMS:� � Two minutes here please, because� � � � 24� � we are running out of time now.� � � � 25� � � � � � � AUDIENCE MEMBER:� � � Good afternoon.� My name� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 47� � � � 1� � is Celeste Ford.� And what I have been doing recently is� � � � 2� � been just writing and actually published a couple books.� � � � 3� � This is not about me and the books.� It's about our� � � � 4� � history and preserving it and the things we can do just� � � � 5� � like Olassie was just speaking about.� � � � 6� � � � � I just came back from New York.� This is an old� � � � 7� � paper they published.� It's called "New York Divided."� � � � 8� � What it was it was slavery in New York.� It was a whole� � � � 9� � thing, but besides the fact that it was a museum piece� � � � 10� � about slavery in New York, I noticed that all of the� � � � 11� � things that they basically sold, even the things that� � � � 12� � were not directly pertaining to that piece had to do with� � � � 13� � that era.� � � � 14� � � � � And I am saying that because recently when I came to� � � � 15� � see the V.I. Family Tree History piece where the� � � � 16� � photographs and everybody talked about the family tree,� � � � 17� � just before seeing that I had taken photographs that were� � � � 18� � in my possession of my grandfather and my great� � � � 19� � grandmother, and what I did with them is I started making� � � � 20� � cards.� You know go to the Indian reservations, they have� � � � 21� � cards.� You don't even have to go to the Indian� � � � 22� � reservations.� You can go to museums and some other� � � � 23� � places and you see these cards with this history.� � � � 24� � � � � We have so much here that we can package.� If we did� � � � 25� � that tour of the part of the island with the Maroon area,� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 48� � � � 1� � if we did that, there are so many other things that� � � � 2� � connects to that.� So we have to start to look not just� � � � 3� � at one thing but again think outside the box.� Because� � � � 4� � how many of us here either know of someone that has a� � � � 5� � history here or know -- the children is a whole lesson� � � � 6� � there.� Talk about education in art.� Bring in a picture� � � � 7� � of your grandparents, great grandparents bring it in,� � � � 8� � draw a whole thing.� Let them draw that person, give a� � � � 9� � story about that person.� � � � 10� � � � � It's a whole process.� It doesn't stop with just one� � � � 11� � thing.� Think outside the box.� Just keep thinking,� � � � 12� � because other cultures come in other places and they make� � � � 13� � millions, and it's not just about the history or the� � � � 14� � money that they came with.� Some don't have a dime when� � � � 15� � they get places, and you want to know how they get to� � � � 16� � where they are going, because they come in with a whole� � � � 17� � different vision of the place they step foot on.� They� � � � 18� � see things that you never seen before.� � � � 19� � � � � � � MR. HELMS:� � Sorry we have to.� Thank you� � � � 20� � very much.� � � � 21� � � � � I think with this last words, I think we all totally� � � � 22� � agree we have to do something ourselves as soon as� � � � 23� � possible, because there is no meantime.� We have to start� � � � 24� � tomorrow, well today.� Thank you very much.� � � � 25� � � � � � � (Time noted 12:10 p.m.)� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 49� � � � 1� � � � � � � � � � � CERTIFICATE OF REPORTER� � � � 2� � � � 3� � � � � I, Yvonne Samuel-Setorie, Registered Professional� � � � 4� � Reporter, do hereby certify that the above-named� � � � 5� � conference was taken by me in machine shorthand and� � � � 6� � represents the official transcript of said conference;� � � � 7� � and that said transcription is true and correct.� � � � 8� � � � � In witness whereof, I have hereunto subscribed my� � � � 9� � hand.� � � � 10� � � � 11� � � � 12� � � � � � � � � � � � � � _____________________________� � � � � � � � � � � � � � � � � � � YVONNE SAMUEL-SETORIE, RPR� � � � 13� � � � 14� � � � 15� � � � 16� � � � 17� � � � 18� � � � 19� � � � 20� � � � 21� � � � 22� � � � 23� � � � 24� � � � 25 -----Inline Attachment Follows-----� � � � � � � � � � � � THE VIRGIN ISLANDS HUMANITIES COUNCIL� � � � � � � � � � � WTP CULTURAL HERITAGE TOURISM CONFERENCE� � � � � � � � � � THE FUTURE OF THE PAST:� THE BUSINESS CULTURAL� � � � � � � � � � � � � � � � � � HERITAGE TOURISM� � � � � � � � � � � � � � � � � September 14, 2007� � � � � � � � � � � � � � � � Carambola Beach Resort� � � � � � � � � � � � � � St. Croix, U.S. Virgin Islands� � � � � � � � � � � � � � � � 1:30 p.m. - 3:04 p.m.� � � � � � � � � � � � � � � � � MEDIA ROUND TABLE� � � � � � � � � � � � � � EDWARD LaBORDE, Jr., Moderator� � � � � � � � � � � � � � GLORIA GUMBS, Panelist� � � � � � � � � � � � � � JAMES O'BRYAN, JR., Panelist� � � � � � � � � � � � � � � ELITE REPORTING SERVICES� � � � � � � � � � � � � � � � � � P.O. Box 5619� � � � � � � � � � � � � � � � Christiansted, St. Croix� � � � � � � � � � � � � � � U.S. Virgin Islands� 00823� � � � � � � � � � � � � � � � � � (340) 713-1318� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2� � � � 1� � � � � � � MR. LaBORDE:� � Good afternoon, everyone.� � � � 2� � � � � � � (Response.)� � � � 3� � � � � � � MR. LaBORDE:� � Thanks for coming to this� � � � 4� � Media Round Table.� My name is Ed LaBorde, Jr.� I'll just� � � � 5� � start off by telling you a little bit about who I am� � � � 6� � briefly.� I'm a filmmaker.� That's what I do, among other� � � � 7� � things.� I might do a little something here and there. � I� � � � 8� � worked a lot with this conference, worked with Tourism,� � � � 9� � and I'm down playing that side because there is something ����� E I N O � � � � � � &%(%�%�%�+�+�5�5c9d9�9�9�9�9�;�;< </<2<��>�>�>�>%@(@JJJJ�b�b\h]h�h�h�i�iAjBjvkwkZl[lZm]moo ooooOsQs�z�z����Ժպ+�,�����<�����������������������������������������������������������������������������������������h�1h+&�h�JMh�f[h�o�h@[�h��h�=�W�J=Qɍn�o��������gd�=�gd�=�o��<��>�����DE������//0"0+6,6�6�6�6�6�6�6/717^7_7oExEkSmS�S�So�����������������������������������hj�h�=�htJ�",1�h��/ ��=!�"�#��$��%���������@@��@NormalCJ_HaJmH sH tH DA���DDefault Paragraph FontRi���RTable Normal�4� l4�a�(k���(No ListH��H�=�Balloon 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