��ࡱ�>�� (*����#$%&'����������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������q` ��bjbjqPqP .\::�}�������JJJJJJJ^����������L^�� � � � � � � � ���������������$�hX����J� � �����JJ � ���W�W�W��RJ �J ���W����W�W�JJW� ���`�Tm�h���;��W���Ա0�W�B�5�B�W�B�JW�, �T^��W�,�8�� � � �����M� � � ������^^^�s�w� ^^^�w^^^JJJJJJ���� 1 PROMOTION AND MARKETING 1 MS. HENDERSON: Good morning. We're going to 2 go ahead and get started now, if you don't mind. We have a 3 multimedia presentation for you this morning. For those of 4 you who are in the back, if you want to move up a little bit 5 closer so we can be a little more intimate. I am a college 6 professor, you have to excuse me for asking you to do that, 7 but if you can come on forward, we have a great panel this 8 morning. 9 What we're going to do is introduce them very 10 briefly. They are going to make remarks, show 11 presentations, then we're going to open it up for Q and A, 12 which we hope will be a very lively portion of our 13 presentation today. 14 I'm going to actually start with a few 15 remarks, and then we're going to quickly move to our 16 panelists. Let me just briefly introduce them very quickly. 17 Our distinguished panelists include Linda Bruton, and she is 18 the principle of Mongoose Marketing Incorporated and also 19 the publisher of the Settler's Handbook. Chantel Figueroa, 20 from our USVI Department of Tourism. She's the director of 21 marketing. And, of course, Pamela Richards of the Richards 22 Group, and formerly of the Department of Tourism and many 23 other venues. 24 So we're going to talk a little bit about 25 marketing and promotion, and one of the first things that I 2 PROMOTION AND MARKETING 1 would say is that remember that marketing and promotion are 2 not synonymous, and many times when we think about 3 marketing, we think about just the advertising component of 4 marketing or the P.R. component of marketing. Marketing is 5 actually very strategic and should be enduring and go well 6 beyond just the advertising. 7 Our job was made much easier today by the 8 presentation of others that have already gone before, so, 9 for instance, if you think of the presentation that Dawn 10 Drew gave yesterday, which was phenomenal, it was really a 11 marketing presentation where she talked about things like 12 segmentation and targeting and audiences and all of the 13 kinds of things that we tend to talk about when we talk 14 about marketing. 15 Well, one of the things that she said that I 16 thought was most important is that she focused in on 17 authenticity. And we actually heard it just now in our 18 keynote address, when he talked about real places, right? 19 So you hear that theme over and over again, that one of the 20 things that the geotourist is seeking is authenticity in 21 their places, in the products that come from those places. 22 So that's one of the things that we want to talk about. 23 Pine and Gilmore, in their famous book called 24 The Experience Economy, talked about authenticity as being 25 the highest rung on the experience ladder. Start off with 3 PROMOTION AND MARKETING 1 goods and products and brands and services and experiences, 2 and the highest part is authenticity. So I thought it was 3 very interesting that that's come up over and over again 4 today. 5 The other thing that I wanted to touch on, 6 which was also discussed yesterday, is the myth of the big 7 marketing/advertising budget. And that really is just a 8 myth. You can be very creative. Dawn Drew talked about 9 things like product placements in books or film festivals or 10 other kinds of approaches to get your message out there so 11 that people know about what your offerings are; your 12 authentic market offerings are. So that's one of the things 13 that we want to highlight. 14 One of the things that I just wanted to bring 15 up very briefly before we turn it over to our panelists is 16 this notion of cultural capital. How many of you are 17 familiar with that concept of cultural capital? Have you 18 heard it called that before, cultural capital? Does that 19 sound familiar? 20 To some of you, yes. So this idea of 21 cultural capital is really defined as such: Cultural 22 capital -- this is from James Johnson, who's a co-author of 23 mine. He's at the University of North Carolina: Residents 24 with the appropriate values, -- we hear that word value 25 again. We just heard it in the other room -- attitudes and 4 PROMOTION AND MARKETING 1 beliefs about their current life chances and their future 2 opportunities in the local community. More broadly, it 3 speaks to the products and places and experiences that can 4 be actually part of the economy of a place, but then have 5 value to others from a marketing point of view. All right? 6 That's cultural capital. 7 So when you think about cultural capital, you 8 think of all the other forms of capital that we think about 9 with economies: Human capital, you know, people; social 10 capital, political capital and so on. But cultural capital 11 many times gets overlooked, and quite frankly, many times it 12 gets undervalued. It's the stuff we do in our everyday 13 lives. It's the food that we eat, it's the places that we 14 go, that we don't think have value to other people and so 15 therefore we tend to undervalue them. 16 But those are the kinds of things that, when 17 people come to St. Croix and St. Thomas and St. John, they 18 want to have authentic experiences, right? And those are 19 the kinds of things that we talked about before: Going to 20 people's homes and experiencing what they would experience 21 in their typical day. That's what people are interested in 22 when they are, in fact, being geotourists. 23 Okay. Jim Johnson puts it this way: When 24 you see this inter-network of all the different types of 25 capital which then leads to healthy and competitive 5 PROMOTION AND MARKETING 1 communities. And that's really what we're talking about. 2 And when we talk about competition, we're 3 talking about competition without, not competition within. 4 And that is, not competition between St. John and St. Thomas 5 and St. Croix, but really, you competing with all the other 6 places that people can go with their leisure time, right? 7 And that's a real challenge is to, globally, you're 8 competing with whatever else people can do, not only with 9 their dollars that are in their purses and their wallets, 10 but what they do with their time, and trying to find a way 11 to get messages to them that resonate with them, that allow 12 them to understand how they should be spending their time. 13 I'm going to stop here because I really want 14 us to move on to our first panelist, Linda Bruton. She's 15 going to talk about both her movie, and she's going to talk 16 a little bit about her new logo. 17 You're going to talk about your logo? 18 MS. BRUTON: Yes. 19 MS. HENDERSON: All right. With no further 20 ado, I'm going to turn you over to Linda Bruton. 21 MS. BRUTON: Thank you, everybody. Good 22 morning. I just wanted to say good morning to the 23 Humanities Council board members here, and to culture 24 bearers here, and welcome. Thank you for being here. I 25 feel deeply honored and privileged to be a part of this 6 PROMOTION AND MARKETING 1 great conference. Yes, I am editor of The Settler's 2 Handbook, and it came out in '02, '04 and '06, and it has a 3 big history, but I'm not here to talk about that. 4 I was asked to share excerpts from my twenty 5 minute DVD, Get Hooked on St. Croix, and I narrowed it down 6 to eight minutes. Eight minutes of packed information on 7 St. Croix. It is a quick overview. I warn you that the 8 music could lead to toe-tapping, foot-stomping and 9 hand-clapping. After all, it is our own island quelbe. So 10 fasten your seat belt. 11 Oh, not, that one. The DVD, not the movie. 12 Thank you. 13 So this is from Get Hooked on St. Croix. 14 (Movie played.) 15 MS. BRUTON: I hope that warms you up, or 16 woke you up. 17 In keeping with the conference theme of 18 heritage and culture, and our common goals towards nature 19 tourism, let me first recognize an organization on the 20 island, CHANT, Culture Heritage and Nature Tourism, that has 21 really zeroed in on what we have on St. Croix to promote. 22 So accolades to that group. In the next series of little 23 pictures I'm going to show, that would be their first logo. 24 I want to introduce this now, and just let it 25 run. Since I'm currently on the hotel association board, 7 PROMOTION AND MARKETING 1 this is what we just passed was a brochure that we're 2 circulating in the States to right here, CHANT, and then the 3 next one is what we're showing to in the States; it's going 4 to trade shows. And the next one is my new concept, and 5 everybody has his/her ideas of promoting St. Croix, 6 "St. Croix: Land of sugar mills, sand castles and sunsets." 7 So all these conjure up the visions of what we have here to 8 market. 9 When I first moved here fifteen years ago, 10 there -- our island has more mills than any other island. 11 These are our monuments to the past, and no other island 12 boasts so many. Each could tell its own story, but that's 13 another conference. We are adorned with beautiful beaches. 14 All this conjures up visions of our relaxing, our children 15 playing in the sand, and our sunsets lure the most romantic 16 of visitors. 17 Any of these symbols can be used for our 18 advertising. We are currently boasting and promoting our 19 Sunset Jazz, "Where sunset is King, and jazz has a home." 20 Chenay Bay resort advertises, "Come sunset with us." 21 So these kinds of back up my concept of simply 22 marketing "St. Croix: Land of sugar mills, sand castles and 23 sunsets." There's Carambola, where we are right now. 24 That's it. Thank you. We'll talk later. 25 MS. HENDERSON: Thank you, Linda. Next we 8 PROMOTION AND MARKETING 1 will hear from Chantel Figueroa, Director for Marketing for 2 USVI Department of Tourism. 3 Chantel? 4 MS. FIGUEROA: Good morning. I'd like to 5 thank the V.I. Humanities Council for inviting me to sit on 6 the panel. I'm a little hoarse, so please bear with me. 7 I think that it's safe to say we're all in 8 agreement that heritage tourism can certainly benefit the 9 Virgin Islands economy. There are many studies that have 10 shown that these type of visitors stay longer in the 11 destinations they visit, they spend more, and they tend to 12 establish an emotional connection that often results in 13 their wanting to return to the destination. So, of course, 14 that's good for us. We love repeat visitors. 15 But something I believe is more important 16 than that is that when you embrace cultural heritage and 17 you form a good product, when you build a good heritage 18 tourism product, the community that develops, it's better 19 for the residents first, and then the visitors. We do it 20 for ourselves, and that translates into a better cultural 21 heritage tourism product overall. 22 So how are some of the ways that cultural 23 heritage tourism can benefit the economy? For us, it can 24 help us to preserve our local traditions and cultures. It 25 helps by building our community pride in our heritage, 9 PROMOTION AND MARKETING 1 creating jobs and businesses. It helps to diversify our 2 local economy. We can increase our historic attraction 3 revenues, generate local interest in historic resources, and 4 it also creates opportunities for partnerships. So before 5 we can start promotion to the outside world, we need to 6 promote it to ourselves first. 7 Walter Jameson, of the International Council 8 of Monuments and Sites, has identified the following 9 dimensions of cultural heritage tourism, which can provide 10 the building blocks for us to develop our own cultural 11 heritage industry. We need to find ways to support this 12 ourselves. Our handcrafts, our arts and music, supporting 13 our gastronomy, our architecture we have in the territory, 14 our festivals and events, and our historic sites. 15 This has to be done, though, by collaboration 16 between both the public and private sector. We have to have 17 buy-in from the government officials, business leaders, 18 hotel operators, artists, crafts people, operators of 19 tourist sites. The building of partnerships amongst these 20 parties is essential, because they help us develop local 21 support, and because heritage tourism really demands many 22 more resources than any one government or public entity or 23 public/private sector or entity can supply. 24 We need facilities, we need money, which we 25 know about. We have to have expertise in areas of 10 PROMOTION AND MARKETING 1 preservation of arts, of history, of our culture. 2 So once we all decide to work together, this 3 is what we can achieve. Our assignment here today at this 4 conference should be to define what steps we should take, 5 and the goals of our conference today should be to reach a 6 more varied and new visitor segment; to leverage our rich 7 cultural heritage that already exists in the community; to 8 create opportunities for the community to become more 9 involved in tourism; and to compete with destinations that 10 focus on this market, we should be working towards that 11 goal. 12 I think, though, before we move on, that one 13 of the most important things that we should be focusing on 14 for a successful and sustainable tourism product is the 15 nurturing and encouraging of young Virgin Islanders to 16 become more business-minded, and to be willing to go into 17 business ventures about the affirmation of dimensions in the 18 heritage tourism industry. If we don't support young Virgin 19 Islander children and show them that this is a way for them 20 to make money and have a livelihood, it will never work. 21 So what are some of the ways that, after we 22 get our public and private sector buy-in -- I think we see 23 we have that. So many people are here today, obviously 24 we're interested in moving this product forward. Some of 25 the activities that we may want to consider, and I know we 11 PROMOTION AND MARKETING 1 may have these here and there, but there's no coordinated 2 effort. I think that's missing in the territory. When 3 guests arrive, they need to be able to immerse themselves in 4 this. Right now, it's like a treasure hunt for them to go 5 and seek these events and activities. 6 One of the things we might want to look into 7 is development of bed and breakfasts. We have some, but a 8 lot of Virgin Islanders feel that running a hotel is so far 9 out of their reach, you know, they're envisioning 10 two-and-three-hundred-room properties, but that's not 11 necessary. These kinds of visitors want more of an intimate 12 feel. Open a six-room hotel, a three-room hotel. Those are 13 the kinds of things they're looking for to have a real 14 authentic experience when they're here. 15 I know that many Virgin Islanders have these 16 old dilapidated building that they're Auntie Una may have 17 bequeathed to them, but they don't know what to do with 18 them. But this is what we need to do. The gentleman 19 yesterday was talking about in Curacao how they had a vision 20 of this product, this project that they were working on, and 21 they had to go to all these different families and have them 22 sign off on selling these buildings. 23 We don't need to do that. We need to realize 24 the value of what we have, and have the vision to say I can 25 turn this old, wonderful building into something wonderful. 12 PROMOTION AND MARKETING 1 And it takes money, but we also have to educate ourselves. 2 Go to SBDC, find federal agencies that want to give away 3 grant money to restore historic buildings. I know it takes 4 work, but we have to do it for ourselves. Once that's done, 5 their are lots of businesses that can supply that. 6 Another thing that we need to do is create 7 and promote new programs and activities at our heritage 8 destinations. The visitors want to see live performances, 9 reenactments of things that are important in our history. 10 Our historic district should provide enhanced tourist 11 experiences that will ensure an economic value to our 12 community. Our chambers of commerce, I know that we have 13 organizations that are doing things now, but we need more of 14 it. We need food and craft fairs, we need musicians all the 15 time all over, and other layered activities that can provide 16 an enhanced experience. 17 Another thing I think is really important is 18 certification of guides. That might fall on the government, 19 but it's something that we really need to do. We have to 20 have guides that we know that they're going to add value by 21 providing high quality and accurate presentations of our 22 history. Products that are historically authentic and 23 locally produced should have an attached certificate or a 24 standard USVI identification tag to enhance their value. 25 I think, most importantly, is involving our 13 PROMOTION AND MARKETING 1 educators, educating our teachers, so that they educate our 2 students about the cultural heritage of the United States 3 Virgin Islands. We need our children to develop a sense of 4 pride in what we have. 5 So what has the department been doing so far 6 to support this process? Well, we regularly host media 7 visits that focus on cultural heritage tourism, 8 incorporating the destinations to historical locations and 9 events such as the Crucian Christmas Festival, V.I. 10 Carnival, as well as local parks at places like Maho Bay 11 Camp. These visits translate into messages that encourage 12 visitors to explore the islands, and here you see some 13 prints we've gotten as a result of hosting media in the 14 territory. 15 Something else we do quite regularly is the 16 issuing of press releases that focus on cultural heritage 17 tourism events, festivals, anniversaries, and our historic 18 sites. Events such as the U.S. Virgin Island Agricultural 19 and Food Fair, and the St. John Arts Festival, have received 20 national press coverage as a result of the department's 21 outreach. 22 We also participate in events and conferences 23 that focus on cultural heritage tourism and preservation. 24 This is an example of Caribbean Tourism Organization's 25 Annual Caribbean Week this year up in New York. We got 14 PROMOTION AND MARKETING 1 great coverage. The Commissioner and Leslie Gumbs, who is 2 the captain of our culinary team, got great press. We were 3 featured on The Morning Show in New York. We had a lot of 4 interest garnered because of this. 5 We also have advertising that is tailored to 6 this market, and we had our ads in magazines that speak to 7 this market. Magazines such as Ms. Drew yesterday from 8 National Geographic Traveler, she spoke of the importance of 9 this. The Smithsonian Magazine Legacy, American Heritage 10 Preservation, these magazines reach the market that we need 11 to entice to come here. 12 Something else that we know is very important 13 is the sponsorship of cultural events. Every year the 14 department sponsors a host of events that support this 15 market: V.I. Carnival, St. John Celebration, Crucian 16 Christmas Festival, the Agricultural Fair, Mango Melee. 17 There's a host of things. We realize the importance, and we 18 fully support them. 19 We also sponsor media programming that 20 supports and documents the destination's past, such as a PBS 21 special upcoming on Alexander Hamilton, his history and 22 legacy in the Virgin Islands. We worked directly with the 23 crews to establish content, while protecting integrity and 24 accuracy of the programs. 25 Something else that's going to be coming on 15 PROMOTION AND MARKETING 1 on PBS, there's going to be several episodes of an upcoming 2 series that's going to focus on our cuisine in the 3 territory. We're very excited about that. 4 We do a lot now, but we know that we can do 5 more. And we think that once all of us fully embrace the 6 products and we move forward and we have more to offer, 7 these are some strategies that can be put in place to 8 support this market. We are looking into developing a 9 cultural and heritage information kit that specifically 10 targets journalists that write for the market, like in the 11 magazines I just showed you. We'd like to educate key arts 12 and culture tour operators regarding our product through 13 trips and seminars. 14 We're also looking to develop a database of 15 culture bearers, V.I. spokespeople that can be available for 16 media events, interviews, et cetera. People here and people 17 stateside, because there are so many Virgin Islanders that 18 have moved off island that are anxious to be our 19 ambassadors, so we can use them as a resource. 20 We are also looking to retool our print and 21 broadcast ads so that they specifically promote our culture 22 and heritage. We'll continue to market key cultural and 23 heritage events, both nationally and internationally. And 24 we're also looking to support more events. We know that we 25 do now, but we know when this takes off, there will be more 16 PROMOTION AND MARKETING 1 events to support. So the department will be certainly 2 willing to support events that have a strong cultural 3 component. 4 Tourism opportunities at international art 5 fairs and events will continue to be identified. And niche 6 market tour operators that develop cultural itineraries for 7 special interest groups and educational markets will be 8 encouraged by us to have more USVI content in their tours. 9 And something that we just mentioned that we 10 are actually doing right now; we have a test out for 11 something called the At Home Program. When we host 12 journalists in the Virgin Islands, we go all out. We know 13 it's so important that when they get here they have to see 14 the best of the Virgin Islands so that we get good ink, but 15 we feel that one element that can enhance that is this At- 16 Home Program. 17 What we've done is identified Virgin 18 Islanders who are willing to open their homes to these 19 journalists, invite them in for a home-cooked meal and 20 conversation. And what we hope that does is it shows real 21 V.I. hospitality, what we're about. They hear about 22 old-time stories, and when they leave, they don't 23 necessarily write about that, but that experience hopes to 24 build what the Virgin Islands that understanding of what we 25 are about. We're really excited about that. 17 PROMOTION AND MARKETING 1 That's our presentation, and we hope you 2 enjoyed it. 3 MS. HENDERSON: Thank you, Chantel. 4 We have one more presentation from Pamela 5 Richards, who was the first woman in the territory to serve 6 as Commissioner of Tourism with responsibility for managing 7 the territory's advertising and marketing plans, and its 8 national and international tourism-related efforts. 9 Richards was elected the chairman of the Caribbean Tourism 10 Organization in October 2004; also served as a member of the 11 governing board of the Virgin Islands Port Authority, the 12 Virgin Islands Human Resource Investment Council, the Small 13 Business Development Agency, the V.I. Humanities Council, 14 United Way of St. Croix, and as an at-large member of the 15 Travel Industry Association of American. 16 Needless to say, she has a long history of 17 community service with many other not-for-profit 18 organizations, and she's currently the CEO of the Richards 19 Group, LLC. Pamela Richards. 20 MS. RICHARDS: Thank you and good morning. 21 I would also like to thank my former 22 colleagues, I was a board member of the Humanities Council, 23 also, for this kind invitation. Ladies, again another 24 female panel. Wonder where we're going with this? 25 If we could key up my presentation? 18 PROMOTION AND MARKETING 1 All right. We were tasked with determining 2 the future of the past, the business of cultural tourism. I 3 understand that you had a really good session here, and I am 4 really glad to join you today. I've had some other things 5 going on, but I do want to refer back to one of my mentors: 6 Whatever threatens the competitiveness and sustainability of 7 Caribbean tourism strikes at the very core of our 8 socioeconomic development. I want you to remember that 9 throughout this presentation. 10 Why cultural heritage? And we've sort of 11 combined these two terms and made up a new one, if you will. 12 Culture and heritage are two different things. The 13 embodiment of it, though, is the new rage in tourism, and 14 I'm not going to read everything on this for you, so I will 15 be speaking differently to what's on the text. It's important 16 to our community, it ensures our connection to the past, and 17 it creates individual and nationalistic pride -- that, too, 18 is very critical for who we are -- and, of course, its 19 historic value. 20 You've heard this from just about everybody 21 that spoke: It has to be authentic. It has to be 22 connected, and the community has to be involved. It has to 23 be historically factual. We can all have opinions, but we 24 cannot all have different facts. We have to focus on 25 protection and preservation, and this is why it is so 19 PROMOTION AND MARKETING 1 important that not only you have community input, but 2 there's a new term also, community-based tourism, where the 3 community and member individuals embrace and become more 4 involved with tourism. 5 The public and private sectors have to work 6 together. Historic Preservation, Department of Planning and 7 Natural Resources, Department of Tourism, Department of 8 Education, the what we call FEDA here on St. Croix, the 9 Frederiksted Economic Development Association, the Chambers 10 of Commerce, the Hotel Association. You know that term, 11 stakeholder? Can you tell me who's not one? 12 Are we on the right track? You've heard it 13 all already, so I won't go through these because you know 14 already that cultural and historical travelers stay longer. 15 You've heard the justification as to why this is an 16 important element for us to develop. So we must then, this 17 is the strategy that we will take, because I was tasked to 18 tell you how to nurture. 19 We have to implement an aggressive approach 20 to cultural and heritage tourism. You got to place emphasis 21 on control and input. You got to make sure that you have 22 input from all sectors, all that are impacted. You have to 23 identify the markets. You must have institutional support 24 such as Chantel mentioned, where the Department of Tourism 25 will fund some of these events. 20 PROMOTION AND MARKETING 1 You also need to make sure that the people 2 that are receiving the funds have the proper technical 3 support also. And, as you can see, this is not a function 4 of one branch of government. The executive and legislature 5 branches should be involved. 6 We have a program, the Economic Development 7 Authority, that offers some of these exemptions and 8 incentives, if you will. But they may need to be tweaked to 9 this cultural and heritage area that I'm speaking about. 10 And why? Because many times those are geared towards large 11 enterprises, not the small cultural heritage individual or 12 smaller group that we are trying to reach out to. 13 I'm going to read this one, because it is 14 critical: We have to develop RFP's to maximize benefits by 15 selecting best quality promoters and events without partisan 16 or political interference. Quote me. 17 I believe that one way we can do this is to 18 establish guilds that preserve and document our culture and 19 instruct and facilitate participant preservation and 20 documentation of unique aspects of our culture, with 21 emphasis on intellectual and property rights. 22 These are some of the guilds. Ms. Dorsch, 23 you can lead the storytelling one for us. 24 We have to establish learning facilities in 25 our schools and learning institutions. That means that when 21 PROMOTION AND MARKETING 1 I study jazz, I will also have quelbe. That means that when 2 I have physical education, part of that exertion will be 3 learning the quadrille dance. 4 When I was in home economics, not 5 surprisingly, I was one that challenged my home ec teacher 6 that, instead of teaching us how to make macaroni salad, 7 that we did Johnnie cakes. I hope that's not been lost. 8 We offer continuing education courses for 9 talent and local skills, such as wood turning. Mr. Spanner, 10 are you there? Please take a moment to look before you 11 leave this room at the wonderful pieces that Mr. Spanner has 12 back there. 13 We need to do candy making. I don't know 14 anybody right now, because all the candy makers -- well, I 15 do know a few young ones, but I'm talking about people that 16 are just out of school. There are some that are my age, 17 which is not so young, but not so old. The candy making 18 skills that we have need to be preserved. 19 Get everyone on board. What that means is 20 we're going to walk the talk. Front-line employees, and I 21 dare say all residents, should be conversant with our 22 culture and heritage. I am the director of Yesterday, Today 23 and Tomorrow, and our chairman is here, Ms. Peggy Moorhead. 24 And we have had, this past year, I've been really, really 25 involved with this organization, but I have to say that we 22 PROMOTION AND MARKETING 1 oftentimes get our history wrong when we are relating it, 2 and people tend to mix especially our emancipation and our 3 labor stories together, and we have to make sure as a 4 community that we don't do that. 5 Tourism associates cannot, cannot, tout the 6 benefits of other designations, especially when they're 7 being paid by government funds. It is most annoying to me, 8 and of course I was a challenger, if you're going to do a 9 tour for the department or for anybody, please take off the 10 hat that says another island nation. Please don't wear the 11 T-shirts. Please don't even talk about the other islands. 12 You are here to sell our island and our culture, and if you 13 would like to go back and sell theirs, that's fine, but not 14 while you're on our clock. 15 We talked about this this morning. Instead, 16 I use Welch's. I used to challenge the hotels when I would 17 go for breakfast and say, Why don't you have some local 18 preserves, rather than Welch's jelly? It's not that hard, 19 and we have a lot of talented individuals that make the 20 preserves. I think it's sometimes just a matter of trying 21 the product. 22 And restaurants, one of the initiatives that 23 I had when I was the commissioner was that, if I hired you 24 to do a job, you did not come with any other rum other than 25 Cruzan. That has to be policy. And, in fact, when you have 23 PROMOTION AND MARKETING 1 an event like this, I used to tell them to remove all the 2 other bottles of rum from the display that they had. And 3 usually I didn't have any trouble with it. Just that nobody 4 had ever asked. 5 Sponsorships should feature locally produced 6 products, especially when you can talk about your rum or 7 your dolls. Instead of importing flowers, what I used to do 8 was have these Mocko Jumbie dolls. Why can't these be your 9 centerpieces? The same florist could contract with a local 10 provider -- and this one, by the way, was done by Carol 11 Blake-Hodge, who's sitting right here. 12 But this -- I would say to you, this is even 13 more spectacular than flowers that weren't even produced on 14 island. 15 We need to have Buy Local programs. I was 16 just in Nevis the other day. I had a meeting with the 17 premier, and my God, everywhere you turned around, it was 18 Buy Local. And the pride that they had with their beef and 19 their plants and everything, that's something we should be 20 able to instill in our residents. 21 Develop and host more heritage events. The 22 Ag Fair had, much to the chagrin of those that didn't win, a 23 Vienna cake competition, and perhaps we were not as friendly 24 as we should have been -- that may be reminiscent of our 25 Columbus past -- but St. Croix took the top three titles. 24 PROMOTION AND MARKETING 1 Fungi turning and fish sauce contest sponsored by Yesterday, 2 Today and Tomorrow through the Emancipation Committee was 3 one that brought the people from the other islands to 4 St. Croix. And if you saw how these people, especially 5 Dr. Petersen, took this fungi turning contest seriously. 6 It's time for maubi and what have you now. I think we're 7 ready for our quelbe music festival, which I have been 8 trying to find something to do it. That might be the next 9 thing that the YTT does. The storytelling conference, the 10 rum conference, the bamboula dance instruction, which has 11 already started, and will -- in fact, if you're interested, 12 we're going to have another one in November. 13 We need to develop handbooks and brochures 14 for a website that documents the cultural heritage resources 15 of the Virgin Islands. Who makes the games and toys that we 16 used to have? The tops? Who knows about the itsy bitsy 17 spider with Punchy Nanny and all them kind of things? Do we 18 know those stories? 19 Establish programs that facilitate the 20 documentation and instruction of the critical aspects of our 21 culture: Fish pot making, recipes, the local drinks. And 22 we need to do it not only through the classroom, but we need 23 to engage our media and have them partner with us, so that 24 there's something either on TV, on the radio, or in the 25 newspapers on a regular basis. 25 PROMOTION AND MARKETING 1 We need to explain our local holidays and 2 customs. How many of you that have just visited us know 3 what Bull and Bread Day is? How much of us local, 4 indigenous Virgin Islanders actually know how to do head tie 5 dressing? Mr. O'Brien, if you're in the room, I'll tell you 6 about the fish pudding after. That has created so much 7 discussion on Radio AM 1000 where they've been talking about 8 the local fish pudding. Many people don't even make it 9 anymore. It's a dish that takes you six to eight hours, but 10 it's worth it. But we don't know about it. So it doesn't 11 matter if you don't make it, you have to know about it. 12 We need to identify and promote locally made 13 products and events, continue our partnerships with the 14 Department of Tourism, and develop new ones with 15 tourism-oriented organizations. 16 I'm sorry I missed Dawn Drew. She is quite 17 the lady. And National Geographic Traveler has been a 18 friend to the Virgin Islands, and I don't expect them to be 19 anything but in the future. 20 The Virgin Islands Government can develop 21 effective links and marketing strategies, and we need to 22 rely on them. Chantel mentioned some of the events that are 23 sponsored already. 24 We need to promote our local authors, and 25 this is part of the stuff you see here. I bring props all 26 PROMOTION AND MARKETING 1 the time. I have a new campaign. It's called, Every home 2 should have one. And no, it's not a TV. It's a local book 3 or a piece of local craft. There are so many books that we 4 have, and the last one is one that's put out by Ms. Eulalie 5 Rivera. This book I asked the family to produce again 6 because it talks about the Teemy Things. It's probably the 7 only in-depth documentation of the Teemy Things. The family 8 has in fact reprinted the book, and we can talk about how 9 you can get a copy later. I'm sure many of you haven't seen 10 this one, Not So Cat Walk. 11 There's so many here that I'd just like you 12 to take a look at. Remember when Harold Willocks came out 13 with The Umbilical Cord? That's a great one to have. These 14 are just grabbed off the shelf. That's not to say you might 15 not see a favorite author, it's just because I didn't 16 have -- I did not have that much space. 17 Mr. Schraeder, our poet laureate; Mr. 18 Rurnkey, just to name a few. Ms. Delta Dorsch, I don't 19 think I have yours, but the storytelling Ms. Dorsch did, 20 we're going to reproduce that for December. We talked about 21 that in July. 22 Must do�s. We need to update the business 23 models. The service levels must be improved. I'm talking 24 customer service and taxi training and any front-line 25 encounters that we might have. We need to maintain and 27 PROMOTION AND MARKETING 1 upkeep the infrastructure and environs. We need to keep our 2 island clean. We need to solicit and utilize best practice 3 models for managing tourism, use creative or unconventional 4 sometimes branding to reach the markets that we've 5 identified. We need to have the public/private sector 6 support. This should be regular, ongoing training and 7 business expertise. One of the most important on this list 8 is that we need to have workshops for financial and 9 insurance sectors to sensitize them to what needs to be 10 achieved. 11 That can be translated by the last point, 12 which is to relax the procurement practices to change 13 payment to cash on demand or within fifteen days for small 14 enterprises. They can't take the amount of time that it 15 normally takes for procurement to pay. 16 Actionable opportunities. We need to provide 17 activities and jobs for the low income persons, because, 18 guess what? In a rising tide, everybody benefits. 19 We assist the development of the arts 20 disciplines. We enhance our economic activities and quality 21 of life by capitalizing on local talent and cultural assets. 22 We need to create, again, one of the things I thought about, 23 and you only thing about this when you have to go in there, 24 but why don't we have a readily available database for our 25 cemeteries? Who knows where some of our David Hamilton 28 PROMOTION AND MARKETING 1 Jacksons? Where is Bulla's men? Things like that where we 2 talk about. We have these vast resources, but we don't know 3 where our leaders are laid to rest. And that's another 4 aspect of cultural and heritage tourism that is untapped as 5 of today, but you will soon see the cemetery tours 6 occurring. 7 Projects should have measurable outcomes in 8 at least one or more of the following areas: Increased 9 knowledge, increased employment, increased attendance or 10 income, and increased local participation. 11 In summary, quality heritage tourism 12 development is a comprehensive process that addresses four 13 factors: Heritage resources, visitor interaction, visitor 14 experiences and benefits. And I do want to say this: We 15 just received our compilation of the Emancipation -- this 16 year's Emancipation events, and I'm going to take the 17 liberty, because I have been so much supported by our 18 chairman, to show you one of the segments, because one of 19 these things that we need to start doing is documenting our 20 history and our culture for those that are here now, and for 21 those that will come in the future, and for those that we 22 anticipate visiting us. 23 So I'm going to show you the first segment in 24 our Emancipation movie, if you will. It's the donkey races. 25 It is Yesterday, Today and Tomorrow's attempt to start to 29 PROMOTION AND MARKETING 1 document our history here on St. Croix, and the Emancipation 2 events. 3 So we can go to that now. 4 (Movie played.) 5 MS. HENDERSON: Thank you, Pamela. 6 So now we have a time for questions and 7 answers. What I'd like to do is ask that you come to one of 8 the microphones that we have in the room here or here, so 9 that we cannot not only hear you in the room, but also make 10 sure that you get recorded so that people who didn't have 11 the opportunity to be here today can also hear your 12 questions as well as our answers. 13 So any questions from the audience? Don't be 14 shy. 15 Yes. Please come. 16 A QUESTIONER: I have come to defend my 17 reputation. I understand some remarks have been made about 18 something about fish pudding. I want to know how many of us 19 ever heard of fish pudding before the other day? 20 I want to say that I think that we need to 21 catalog these types of things, and whenever we have official 22 events where guests are coming, you know, to whether 23 Government House or whatever it is, that these delicacies 24 that we have should be more on display. I guess in my 25 formal capacity we tried it a couple times. It proved to be 30 PROMOTION AND MARKETING 1 a very expensive proposition, but I think it will lend 2 towards giving people more of an understanding, a taste of 3 the Virgin Islands culture. 4 I mentioned yesterday that I think we need 5 to, now that we have proclaimed quelbe the official music of 6 the Virgin Islands, it is in my mind that, from now on when 7 we have these official functions, the Star Spangled Banner, 8 the Governor's own Virgin Islands March, should also be 9 performed in quelbe, so that our distinctive qualities are 10 made, and our music should definitely be made known to the 11 public so that we can start doing it. 12 We need to do it more often than just every 13 so often, but I think that it needs to be done on a regular 14 basis now, because, if you have an official music, certainly 15 the official songs of the Virgin Islands should be portrayed 16 in that way. 17 So that's the only remark, other than to let 18 you know that my mother has been home conferring with her 19 sister so that one of these days I'll have some kind of 20 treat someplace, but, of course, since I don't know what it 21 tastes like, I just have to assume. 22 MS. HENDERSON: Carol, you do know what fish 23 pudding is. 24 MS. HENNEMAN: I have never even heard the 25 term until I walked in here. Never heard it, never seen it. 31 PROMOTION AND MARKETING 1 I'm going to be waiting for that. 2 MS. HIGHFIELD: Good morning and 3 congratulations on the excellent panel. Very informative. 4 The home program, has it started already? 5 MS. FIGUEROA: We've tested a couple in 6 St. Thomas and St. Croix, and it went very well. But if 7 you're willing to open your home, please see me afterward. 8 MS. HIGHFIELD: The question is, how do you 9 qualify? Is there a questionnaire, is there a contact 10 number or person? 11 MS. FIGUEROA: You can contact me, and then 12 we can talk about what you're willing to do, what kind of 13 dishes that you're willing to prepare, and it's that simple. 14 I can talk with you after, if you would like to do that, 15 just about when we would need you and things like that. 16 That would be great. 17 A QUESTIONER: Good morning. I would like 18 to -- well, I guess maybe I should add, for all the ones of 19 us who are not from here, talk radio is a part of the 20 culture here, and so something goes on the radio, and 21 everybody discusses it, so that was what the discussion 22 about fish pudding came from. 23 I'd like to ask Chantel if the Department of 24 Tourism has any plans to either provide cultural and 25 historic information on the website or links to other sites, 32 PROMOTION AND MARKETING 1 because I was very disappointed that not just the Tourism 2 site, but even other official government sites -- for 3 example, if you go on the link for -- I mean the list the 4 government has of local holidays, you can't click on the 5 link and get an explanation of what that holiday is, or its 6 history, or anything of that sort. 7 So is there any thought of creating that? If 8 there is, let us know. 9 MS. FIGUEROA: I realized when I was going 10 back over my notes that I completely skipped that. There is 11 a small portion on the culture and the arts on our website 12 right now, but we realize that we really do need to expand 13 it. We are in the middle of a redesign of our website, and 14 that is a component of it that we know we have to expand. 15 We're also thinking about creating a microsite just for 16 culture and heritage. 17 Another thing that we know we must do is 18 offer links to things like CHANT, the Landmark Society, so 19 we are thinking about it. We know it needs to be there, and 20 we will expand it. 21 A QUESTIONER: Yes, good morning. This 22 question is for Pam Richards. 23 As you know, I'm interested -- I do public 24 health marketing, but marketing has some common strategies, 25 whether it's tourism or whatever you're talking about. 33 PROMOTION AND MARKETING 1 What do we do here in terms of looking at the 2 target audience and what they want, and the market research 3 behind that? The reason I say that, we have to look at the 4 icons of branding, because last night I was talking to a 5 friend of mine about this conference I attended yesterday, 6 and they shared with me the comments of a visitor, he's like 7 an engineer at HOVENSA that just came down, and he says, 8 "You guys keep saying St. Croix under Seven Flags, but all I 9 see is Denmark. But, you know, in Europe, they don't like 10 the Danes." 11 I didn't run this by my sister Karen, who's a 12 historian. Maybe on the way home I'll do that. But my 13 response was, "Denmark was the longest, it was the most 14 recent." And the guy said, "What about the Dutch?" I said, 15 "Well, oh God. Knights of Malta? "What did they leave?" 16 We have to be careful about the branding you 17 market, because you have to be credible, if you market 18 something, you can back it up with this is real. 19 Those are my comments on that. Thank you. 20 MS. RICHARDS: I agree with you a hundred 21 percent, and we also have to be careful what aspects of our 22 own culture or the target markets or segments that we go 23 after, can we really support them? And I will draw for you 24 one specific example. One of the most lucrative markets to 25 go after is the gay market, but is the Caribbean, as a 34 PROMOTION AND MARKETING 1 region, prepared to do that? Are we prepared to be 2 hospitable and nice and friendly to one of the major, most 3 productive segments of the tourism market? 4 The seven flags issue is one of our 5 strongest, and I had that in my presentation, and I actually 6 took it out because I wanted to say so many other things. 7 But in addition to the Seven Flags, we go back to the Taino 8 Indians, the Arawaks, the Caribs. There's so much we have 9 to market that you have to segment and target the nation 10 that you want to go after, because you cannot be everything 11 for everybody. 12 A QUESTIONER: Yes. Good morning, everyone. 13 Nicholas from the Beyond Visions Foundation. 14 I wanted to comment on something that was 15 touched on by Ms. Drew yesterday and this panel today. 16 Throughout the duration of this conference we've been 17 hearing a lot of ideas and plans of actions from people on 18 what we can do to promote cultural tourism, but I also want 19 to say that one of the last things that I want to see happen 20 is for us to be reduced to a commodity where we're just 21 something to be branded and sold towards the tourism 22 industry, and we end up losing ourselves in the process, so 23 we end up being altered where we're just something there for 24 the tourists, rather than for ourselves as well. 25 And I just want to try to put a point across 35 PROMOTION AND MARKETING 1 that, first and foremost, when it comes to these programs 2 and plans of actions that we want to do, personally I think 3 the primary goal should be that it enhances, promotes and 4 develops our own culture and our own heritage. It's great 5 we can make money off it, I think definitely we should 6 pursue that, but first and foremost that should be a primary 7 goal. 8 MS. HENDERSON: We all agree. 9 SENATOR MALONE: Good morning, everyone. 10 Panelists, distinguished panelists. I just want to say that 11 in the education and training workshop that was coordinated 12 by -- conducted by Mrs. Henneman, who I think is here, we 13 talked, and I had discussed a few ideas that we should do 14 right now until we can decide to enhance our institutions 15 that should build the products, so to speak, if we decide as 16 a government this is what we want to do. 17 When we passed the legislation to establish 18 quelbe as the official music, I immediately -- Pamela knows, 19 I wrote to her, and she was copied because I wrote to the 20 Executive Director of the Port Authority and to the West 21 Indian Company in asking them to play that music at their 22 ports of entry. If you couldn't get live bands, at least 23 play the CD music, and they hear it, the tourists coming off 24 the ships or the airplanes, and when they're leaving they'll 25 hear it in the facilities. 36 PROMOTION AND MARKETING 1 All you got to excuse me, I just came from 2 quadrille last night in Frederiksted and I'm trying to 3 gather my thoughts, but I have to have this opportunity to 4 speak to the people who actually are doing the work, and the 5 other things that the Department of Tourism can do, there 6 needs to be more collaboration. I know everybody's very 7 busy, and I'm realistic, I know how it is, but you have to 8 look at the resources that I outlined yesterday -- I'm sure 9 the conference report will list those -- and collaborate 10 with the V.I. Institute of Culture, the Humanities Council, 11 of course, the Friends of the Libraries, and people who 12 know, who have been doing things privately to enhance 13 tourism, I mean the product, for the people who come to 14 visit, so that there's no disconnect. Whenever a cabinet -- 15 Beverly Nicholson, is she here today? 16 MS. FIGUEROA: She's in another room. 17 SENATOR MALONE: When you see Beverly, I'll 18 talk to her again. When the governor is hosting cabinet 19 meetings, there needs to be a focus on the entire government 20 on that level so that there's a tie-in. You know, it flows 21 from there. Really, gravity, law of gravity is very 22 realistic in governance: What come from the top flows to 23 the bottom. If we're not serious, and just have this group 24 over here, this department doing this, you're not going to 25 see it developed. 37 PROMOTION AND MARKETING 1 I think, good examples, I'd like to see -- 2 don't have to look too far to find out what to do, St. Kitts 3 has done it. The government has made a concerted effort to 4 switch from agriculture to tourism, and it's obvious when 5 you go to St. Kitts. St. Maarten, the same thing. Aruba, 6 and other places who have decided and made -- even in the 7 States, the United States have done that. I think Arizona 8 is one place, others, Florida, they have made a concerted 9 effort to focus in developing a particular segment of their 10 economy so that all other things flow from that, to develop 11 the people down to the very lowest level so that they will 12 buy into what we're trying to do to feed that population for 13 generations to come. 14 So the collaboration is essential. We don't 15 have to go too far to find out who are the experts in this, 16 and who know this about the culture. We know it's very 17 expensive, it's not cheap, but if you're going to invest in 18 our future, I think it's worth every penny today. So I 19 wanted, I really expect your cooperation. And you know me, 20 you don't have to worry about me. I will work with you any 21 time, with any of you, to connect the dots because it's so 22 important that we do that. 23 MS. FIGUEROA: Well, I think that that is 24 something that Ms. Richards touched upon that I was trying 25 to get across. The government has to support it, but you 38 PROMOTION AND MARKETING 1 have to have buy-in from everybody in the community for it 2 to work, private sector and public sector. It needs to be a 3 coordinated effort. But you are right, if the government 4 focuses and says, "This is what we want to do, we are going 5 to support it," yes, it trickles down. But you need to have 6 the private sector buy in, and residents to buy in. 7 SENATOR MALONE: And that's where we have the 8 Division of Culture established in the schools. That takes 9 care of that segment. 10 MS. FIGUEROA: Coordinated effort. 11 SENATOR MALONE: The private sector will 12 follow suit. I think they don't have a problem with that. 13 They looking to make money. And we heard from Ms. Drew 14 yesterday, fifty-five million dedicated heritage tourists, 15 if you want to call them that, who travel to places just for 16 that specific reason. 17 How many visitors do we attract a year? Two 18 million, about two million, right? We got fifty-three 19 million more to go, fifty-five, actually, if you want to -- 20 actually, if you want to look at the entire market. It's 21 really -- I can't tell fourteen senators what to do, I can 22 suggest that this is the direction we should go, but it has 23 to be -- this particular effort must be administrative, 24 legislative, executive. The legislature must work 25 hand-in-hand and decide together as a group that this is 39 PROMOTION AND MARKETING 1 what we're doing. 2 MS. FIGUEROA: The other young man's point, 3 too, we also have to live it. It cannot just be a 4 commodity. 5 SENATOR MALONE: Right. 6 MS. FIGUEROA: We have to live it every day. 7 Have the music, like Mr. O'Brien was saying, in our airports 8 and points of entry. We have to have people making the 9 toys, and making the candies and things like that, and 10 accept that this is who we are and we can make a living 11 doing these things. 12 SENATOR MALONE: That's where the EDA comes 13 in, again, to support these entrepreneurs -- 14 MS. FIGUEROA: Because they have to make a 15 living. 16 SENATOR MALONE: Right. Give them the 17 funding, the capital to start these businesses, so that you 18 have something to sell to people when they come. See, it's 19 a very -- you know, it's a network that we have to develop. 20 So I'm not going to worry about the buy-in. I think people 21 are going to buy in. We eat it, we drink it, we talk it, we 22 play it, we dance it. We just have to organize it. 23 Thanks very much. 24 MR. BUTCHER: Morning. My name is Ivan 25 Butcher. 40 PROMOTION AND MARKETING 1 The point I was trying to make yesterday was 2 that, when you talk about getting the community to buy in, 3 and the situation that we might face with the crime and 4 stuff, it's the youth. We talk about the future, we're 5 wasting our time if we're not addressing this in the 6 schools, in the community. There's a situation where, like 7 there was mentioned yesterday, arts are the first thing that 8 suffer when there's a budget cut. 9 If you're talking, the first thing when 10 people that come here, and they find out that I'm an art 11 instructor, they ask, "Where is the local crafts and things 12 that are being developed?" And it's not being done in the 13 schools. If it is so, then it's done by the initiative of 14 the teacher who might provide and go out of his way to 15 provide those kinds of lessons. But most of the time the 16 Department of Education, they give us pencils and crayons. 17 This is a computer graphic society we're dealing with. 18 These kids, they're not going to do simple things anymore. 19 We have to address all those issues. 20 Like I was trying to say yesterday, at YRC, 21 these students, some of them are the most creative kids that 22 you might have. Because the system is not addressing their 23 needs, they're causing havoc in the schools. At YRC, 24 because there was -- there was somebody there guarding over 25 top of them, it was an ideal situation when I went in there 41 PROMOTION AND MARKETING 1 to teach. They were listening, they were making input, and 2 they want -- what they want is trades. They're not going to 3 go back into the school and behave. That's not how they're 4 being conditioned. 5 So what they need to do, they want to work. 6 They have the skills. They demonstrate that. When you talk 7 about crime in the streets, they demonstrate that they have 8 marketable skills. Even the burglars, they know how to 9 market their stuff and get it sold and distributed. They 10 have all those skills. We have to just start doing and 11 applying the things that you want to happen, and demonstrate 12 to them that they're capable of handling that. 13 If not, they're not going to buy into this. 14 In fact, they're going to prey on all the tourists and 15 everything that you bring here. They have an expression 16 they use, the young people today. When you talk about 17 crime, they call it street tax, right? The government 18 taxes; when you come onto the street, they tax. They'll tax 19 when they rob and steal and they hustle. 20 For the system to allow kids to leave school 21 with a certificate or diploma stating that they're capable 22 of filling out an application, and you don't provide the 23 opportunity for them to have jobs here, they have to leave 24 or they become beggars, thieves and criminals. That's what 25 we're facing. 42 PROMOTION AND MARKETING 1 MS. HENDERSON: So what is your question for 2 the panel, based on that? 3 MR. BUTCHER: My question is, how do we get 4 the government to realize how important it is to start 5 supporting the arts? They treated the art teacher as if we 6 were second class teachers. My thing is, we studied every 7 single thing everyone else studied in school, but I have a 8 trade. With a textbook, I can come into any teacher's 9 classroom, basically, and teach their subject matter, 10 because I have the power of illustration. Without 11 illustration, there's no real teaching tools. 12 In fact, history has to be rewritten, so we 13 have to create our own illustrators, or somebody else is 14 going to come in and determine what we look like and what 15 our culture's about. And that's what's happening. When you 16 talk about local artists, I mean I consider myself a local 17 artist. I been here since 1969, and I grew up here, and 18 I've been teaching in the system. But there are people that 19 come here two weeks ago and advertise and put up a website 20 that they're a local artist. They are visitors, right? 21 I have an expression that I'm getting ready 22 to market: I'm a born-again Crucian. I'm a city born, but 23 an island man. This is part of what my culture is. And 24 there's a lot of Crucians and Virgin Islanders that have to 25 be born again, because they're all into a different kind of 43 PROMOTION AND MARKETING 1 lifestyle and different attitudes? 2 MS. HENDERSON: How would you respond to 3 Mr. Butcher's questions? 4 MS. BRUTON: I think, as far as the 5 government, the government seems to be doing right now, it 6 sounds like they have plans to put this kind of education 7 into each school. You have to start with that ground level 8 up. I think they're beginning to focus on that. 9 MR. BUTCHER: To address that, we have 10 students like Ms. Resnick from St. John said yesterday, 11 there is no higher education than the arts, and this is the 12 most creative environment you can come. Everyone comes here 13 for all kind of artistic reasons. Not just culture. We 14 have students, outstanding students, that graduate every 15 year and go nowhere with their art, right? Those students 16 could be teachers and aids. Then you give them -- they go 17 into the University and take some classes and then become 18 the teachers of tomorrow. 19 MS. RICHARDS: You know what my take on that, 20 Mr. Butcher? Government is the people. 21 MR. BUTCHER: Uh-huh. 22 MS. RICHARDS: And when we express to them 23 that we truly are interested, they will do. 24 How many of the community, in fact, supports 25 youth events? How many of the community, in fact, make 44 PROMOTION AND MARKETING 1 monies available to youth for arts events? We had -- I do 2 events with kids all the time, and the amount of adults that 3 show up is amazing in terms of its negativity. And the art 4 show that you were at with me the other day in March, it was 5 more of the art teachers and the parents that were there. 6 So it's the community, and not the 7 government, because the community comes first, and 8 government is fueled by community, that is who has to act. 9 That is who has to see that it is important. If we were 10 truly interested, then you would have full supplies in your 11 classroom every day. That's us, not government. 12 MR. BUTCHER: I substitute at Central High 13 School, and most of these kids have their own laptops and are doing 14 all kind of videos and stuff, and all I had was crayons to 15 teach a class with them. 16 MS. HENDERSON: We need to go ahead and get 17 Carol's question. 18 MS. HENNEMAN: I wanted to make a small 19 comment, and then to ask a question. 20 One of the ways in which I think we can 21 engage our young people is if we organize a speakers forum. 22 The best way to teach students about our culture and about 23 our livelihood is not to tell it, but to let them learn it. 24 So somebody who does choral reading and so, like I do, when 25 I want my students to learn about the Virgin Islands, I just 45 PROMOTION AND MARKETING 1 write a choral reading about the Virgin Islands, they 2 memorize it, they win first prize. Always do. And then 3 they know it for life. 4 So what I'm encouraging is that we not only 5 have a student speakers� forum, but we also have an adult 6 speakers� forum, and we go to different schools and speak to 7 the students about all of the culture and history that we 8 want them to know. 9 And my last comment is, we need to take our 10 children out of the classroom and to the places that we are 11 saying are cultural. Why are we teaching them about Fort 12 Christian at Charlotte Amalie High School, when it's a walk 13 down the road where they can actually, like, see it? It's 14 just a connection that's so obvious to me. 15 My question is, how do we design a package, a 16 cultural heritage package, that reflects what we want and 17 not what everybody else wants? Because I said it yesterday, 18 you just can't put everything in kalaloo. It just doesn't 19 work that way. I'm sorry, but there are just some 20 ingredients that go in kalaloo, and some that don't mix. 21 So how can we ensure that the product that 22 we're going to get, when we market ourselves to the world, 23 are the products that truly reflect the people that are of 24 the place, not the people that are passing through the place 25 building up their resume to go someplace else. 46 PROMOTION AND MARKETING 1 That's my question. 2 MS. RICHARDS: I'll take it. 3 When we had decided, back in 2001, that we 4 should market St. Croix as a cultural heritage island, 5 which, to my chagrin, I took a lot of blows for, I actually 6 did a lot of research, and I contacted the community to find 7 out how they wanted to be represented, which is very 8 different from how tour operators wanted us to be 9 represented. 10 But if we, as a community, buy into an idea, 11 then we have to make sure that when the you-know-what hits 12 the fan, you have to stand up and say, This is important to 13 us, and chitlins don't belong in kalaloo. 14 MS. FIGUEROA: I just think that conferences 15 like this also help us to define what we want, and who we 16 are. And if we, as a community, know who we are -- because 17 I think there are a lot of students now that don't know 18 anything that you're talking about. All of you are talking 19 about people who don't know what fish pudding is. I grew up 20 with my grandmother making fish pudding. That there is 21 anybody in the Virgin Islands who doesn't know what that is 22 is very surprising to me. So we have to know our own 23 history first. Once we're comfortable with it, then we can 24 promote it. 25 MS. SONDERSON: My name is Janice Sonderson. 47 PROMOTION AND MARKETING 1 The young people are truly near and dear to 2 me, having been a principal, a teacher for how many ever 3 year, thirty years in the educational system. 4 I would like to see us, once we develop 5 whatever that package is, I would like to see us take it to 6 the housing communities, because each housing community has 7 a housing office, and they have an area within the housing 8 community that can be used. 9 When I was growing up, each housing community 10 had its own queen show, and we had to do something cultural 11 within the queen show. I was, at one time, Ms. D. Hamilton 12 Jackson Terrace, and I -- I guess you could look at me and 13 see, is one of more physical prowess, so I didn't play a 14 musical instrument or anything of that nature. But I did do 15 some of the quadrille, which I learned with Milton Payne, 16 and I went back to the culture that I grew up with. 17 In my culture, there was no such thing as 18 pumpkin in kalalo. And it was "kalalo," it wasn't 19 "kallaloo." It was kalalo. So I would like to see us take 20 it to those places. Jesus Christ was a great marketer. He 21 took his plan of salvation here, there, and everywhere. He 22 did not just go to the highfalutin quality places. He went 23 in the valleys and he went where the people were to sell to 24 market his product. 25 We need to be able to go into our housing 48 PROMOTION AND MARKETING 1 communities. That's what they are, they are ours. And if 2 we get to the point where we cannot go back where we came 3 from, we are not going to be able to effectively market our 4 product. And we must start with our children, so that they, 5 being our future, will take it forward. 6 Thank you. 7 MS. HENDERSON: Well, I think on that note 8 that's actually a good place for us. 9 MS. BRUTON: Is there anything else that 10 anybody wanted to add? I just had a thought here of 11 something that we're missing in the culture here, something 12 that we're losing, and we do have museums here for 13 artifacts. I would like to see, if somebody along the 14 way -- this couldn't be too hard to create -- a costume 15 museum. 16 If you look back at Leo Carty's work, where 17 he has this beautiful picture of the women by the water in 18 their big hustle-bustle costumes from that area, the big 19 hats, the Sundays where they went down to the water in this 20 great garb, so you could have some costumes from that era; a 21 Mocko Jumbie costume; bamboula; madras; African quadrille; 22 even fabrics. It could be a lovely little small museum. 23 I was at one time, for a year in St. Thomas, 24 marketing manager of Tutu Park Mall, and I had a fashion 25 show and I asked some of the ladies in the community to help 49 PROMOTION AND MARKETING 1 me design from the old to the new. Well, the new was easy. 2 And these seamstresses designed some beautiful old costumes 3 from the gauze cotton, and it wasn't colorful, but it was 4 layered and wrapped, and they came up with some great 5 costumes, and they sold for $300 because it was very 6 authentic. 7 So I think we've forgotten that era, and if 8 we're going to preserve things here, like artifacts, then we 9 need to maybe have a museum of our costumes. 10 MS. SPANNER: Good morning. My name is Carol 11 Spanner. I'm the guy that do the woodwork in the back 12 there. 13 My question and comment going to be this: 14 Woodworking, right now on the island, is getting down very 15 low, and I have -- I have sixty-nine years old young. And 16 as I spoke to Pam Richards there earlier, last month, I get 17 careless, my sugar get out of whack, they hospitalized me, 18 and I could have died. And I don't have one person to carry 19 on that (indicating), and it burdened me a lot. And I would 20 like to know if there's any way that you all could help us, 21 as woodworkers, that we could get people that we could be 22 able to teach them. Because this is a fantastic work. I 23 could do this day and night, and with pleasure. Each piece 24 that you do, you have a different feeling you get from it. 25 And the only way that you would know what it is is when you 50 PROMOTION AND MARKETING 1 doing it. 2 My children take a tree, a dry piece of wood 3 out there, and slab it, I have the machine to slab it 4 myself, and when it's done, it come out to what you see 5 there. And the album have four poster bed, day bed, sleigh 6 bed, everything, just from the piece of wood that people may 7 burn or throw away. And what could be done with it? This 8 is a lot of things that is leaving us, and we, as 9 woodworkers, need help. 10 I don't know how you all could do it, maybe 11 you could pass it on to someone that could assist us, give 12 us -- bring children, and carry we to where the children 13 are, because this thing needs to go on. 14 For instance, maybe ten, fifteen years ago, 15 they call me at the Complex. I went there, had a interview 16 with them, showed them the tools. I have my work that you 17 could see what I done, what I does. They tell me I need a 18 twelfth grade diploma, and that was it. And I think that 19 was ridiculous. 20 MS. FIGUEROA: You're right. I think that 21 what needs to happen is that a lot of the high schools have 22 carpentry classes and other things I think you were touching 23 on; home ec. So on you need to be there, rather than, yes, 24 it's great to make cabinets, this and that, but preserving 25 the types of things you do in passing it on in the future is 51 PROMOTION AND MARKETING 1 what we need. 2 I don't know maybe, we need to talk to the 3 superintendent of education and have you in there instead of 4 people learning how to make things that are not 5 representative of what we do, selling your products are 6 probably more important now, if we want to move forward this 7 product, than what they are learning in the carpentry 8 classes, or at least have a mix. 9 MS. RICHARDS: I wanted to say, Mr. Spanner, 10 while I have Ms. Moorhead here, -- 11 Ms. Moorhead, you still here? 12 MS. MOORHEAD: Right here. 13 MS. RICHARDS: -- president of Yesterday, 14 Today and Tomorrow, 2008 is the 160th anniversary of 15 emancipation, and as director, and with the blessing of our 16 president, I'm going to commit to you that we will do 17 something with wood turning for this year. 18 MS. BLAKE-HODGE: Good day. My name is Carol 19 Blake-Hodge, and I am with cultural education in the schools 20 under Glenn Davis, "Kwabena" that most people know, and 21 right now we're working on a project to begin working in the 22 schools from all levels. We just put together a package for 23 the V.I. Puerto Rico Friendship, and woodworking and all 24 those other ideas, we have already in plan to bring in 25 tradition bearers into the school system to ask them to work 52 PROMOTION AND MARKETING 1 with the teachers and the schooling to showcase what they do 2 that those things can carry on. 3 So I didn't want Mr. Spanner to think that 4 we're not doing anything. Education is being torched from 5 yesterday. I'm listening to various people talking. And 6 the fact of the matter is, is that we are new to this, both 7 myself and Mr. Davis, and we are working cohesively together 8 to put a plan in focus for all students, from kindergarten 9 to the twelfth grade. 10 MS. MARNS: Good morning, everyone. My name 11 is Stephanie Marns. I just moved back home after thirty 12 years, and I am really happy that I am attending these 13 conferences the last two days. It was by choice. I wanted 14 to acclimate myself back into my culture. And we have a 15 world of resource of people like myself in the United 16 States. Shamelessly I say that I don't know about this 17 gentleman's woodworking, but I tell you, as a young 18 entrepreneur, I was sitting there and I made a joke when my 19 high school Spanish teacher, that, as a entrepreneur, I can 20 open up a lot of businesses based on everything I've heard 21 the last two days. 22 And to the gentleman, Mr. Butcher, yesterday 23 I did not stand up, but I want you to know, you need to 24 volunteer. You need to take those students, bring them 25 home, open up a small business. There are a lot of grants 53 PROMOTION AND MARKETING 1 available to you to help these boys that you're talking 2 about. 3 It is painful to come back home after thirty 4 years and hear so many complaints. It's very painful. I 5 left here thirty years ago with these complaints as a young 6 girl, and I return, and I hear these complaints. And I want 7 you, the adults, to know that I am now an adult. I will 8 volunteer. I will take the time to volunteer and give back, 9 as Ms. Dorsch has given me; as many of the elders has given 10 me, I am giving back. Because this is painful. You need to 11 step up to the plate. The government is not the panacea. 12 We are. 13 We, the citizens of St. Croix, should think 14 holistically. Stop separating yourselves from the other 15 islands of St. Thomas and St. John, and think of yourselves 16 as Virgin Islanders, and we will all move ahead very 17 quickly. It is very simple. 18 Thank you. 19 MS. HENDERSON: On that note, we're going to 20 end. I think that's a perfect note to end on. I see and 21 hear the pain, but I also hear the hope and the promise, and 22 there are implications for the communities, as well as 23 implications for the community leaders. 24 And as she said, the entrepreneurial spirit 25 is really what we're talking about with respect to 54 PROMOTION AND MARKETING 1 developing the authenticity of the market offerings. 2 Thank you so much for your time. 3 --oOo-- 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 ��,4.4�4�4�8�8�>�>GSHS`sasww�x�xy yM�O�u�v������(�ҿ�3�4�y@|@�@�@SETE�E�E1J4J@JBJTJUJ�������������������������������������������������h��h�U5�h��h�7Jh�U1GHno�� P Q � � � � 2 3 | } � � � � hi�����������������������������@&gd_N�gd�U�����VW����7 8 � � � � ab~��Y�����������������������������gd�UYZ���� XY����ab����<=��������������������������������@&gd_N�gd�U34~�� RS����/0vw�� VWX������������������������������gd�U���Z[����KL����'(qr��+,����������������������������gd�U@&gd_N�,wx��OP������@A����hij�������������������������������@&gd_N�gd�U�� !gh����EFmn�� L M � � � � *!+!t!u!�!�!�����������������������������gd�U�!�!�!=">"�"�"�"�"##d#e#�#�#�#�#2$3$z${$�$�$�$%%,%-%u%����������������������������@&gd_N�gd�Uu%v%�%�%&&S&T&�&�&�&�&*'+'s't'�'�'((Q(R(�(�(�(�(/)0)z){)�����������������������������gd�U{)�)�)�)�)**h*i*�*�*�*�*1+2+v+w+�+�+,,,M,N,t,u,�,�,-����������������������������@&gd_N�gd�U--D-E-�-�-�-�-#.$.k.l.�.�.�.�.//h/i/�/�/�/�/�/�/?0@0[0\0�����������������������������gd�U\0�0�0�0�00111|1}1�1�122Y2Z2�2�2�2�2�26373]3^3�3�3�3�394����������������������������@&gd_N�gd�U94:4�4�4�4�455[5\5r5s5�5�566L6M6�6�6�6�6+7,7v7w7�7�7�7�7�����������������������������gd�U�7"8#8k8l8�8�8�8�8H9I9�9�9�9�9:: :f:g:�:�:�:�:;;*;+;r;����������������������������@&gd_N�gd�Ur;s;�;�;<<��<��<��<��<$=%=n=o=�=�=>>=>>>�>�>�>�>??]?^?�����������������������������gd�U^?�?�?�?�? 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