19 JUNE 2012

Louisiana PLANNING STUDY

PLANNING STUDY SUMMARY REPORT

GALLAGHER & ASSOCIATES BAXSTARR CONSULTING GROUP ESKEW+DUMEZ+RIPPLE / MANNING ARCHITECTS

TABLE OF CONTENTS

Introduction, Report Conclusions and Summary, pg. 1

Task 2 | New Orleans Regional and State Trade Area Characteristics, pg. 6

Task 3 | Overview of New Orleans Area Museums, Attractions and Environments, pg. 12

Task 5 | Market Analysis, pg. 26

Tasks 4 and 7 | Comparable Interpretive Institutions and Museums Case Studies, pg. 32

Tasks 8 and 9 | Site Selection, Complimentary Facility Uses and Building Amenities, pg. 73

Appendix

GALLAGHER & ASSOCIATES | BAXSTARR CONSULTING | ESKEW+DUMEZ+RIPPLE/MANNING ARCHITECTS, A JOINT VENTURE REPORT CONCLUSIONS AND SUMMARY

INTRODUCTION

The team we assembled for the Louisiana Civil Rights Museum Planning Study has collaborated over the past six months to provide museum planning services, marketplace analysis, strategic planning, and architectural planning services. As the project lead, Gallagher & Associates has worked closely with Eskew+Dumez+Ripple and Manning Architects, a Joint Venture and the BaxStarr Consulting Group to research and compile the following report.

REPORT CONCLUSIONS AND SUMMARY

PRELIMINARY FINDINGS AND SUMMARIES RELATED TO MARKET CONDITIONS

In Tasks 2 through 5, as outlined in the contract for the Louisiana Civil Rights Museum Planning Study, we prepared a market feasibility study to forecast the likely attendance reflecting various levels that would be expected for differing locations, realistic per capita ticket pricing, other revenue, and events activity and income for the proposed Louisiana Civil Rights Museum. Task 8 and 9 evaluate the optional sites from a physical perspective, but no site has been selected. Our forecasts show a range for the base attendance that could occur, assuming a venue that is well-designed, well-programmed, and optimally located to capitalize on the New Orleans and State tourism (and resident) markets. We have also made estimates as to how the attendance would change at the different locations.

Key Findings

From the perspective of the local demographics and the New Orleans economy, a portion of visitation to the Louisiana Civil Rights Museum will be from local/regional residents. This area has consistently been losing population and the city has not totally recovered from the Katrina outmigration. The upside of the local area is that the New Orleans economy is beginning to grow and diversify and the Bio-Medical Initiative is expected to bring a significant increment of jobs in higher-paying job groups. Furthermore, there are concerted efforts to grow existing and new industries to bring jobs and investment to the metropolitan area.

New Orleans’ tourism is recovering well in spite of the down economy in the nearly seven years since Hurricane Katrina. In 2011, the total tourism count was at about 8.3 million, up 9.8% over the previous year. Overnight visitation grew 13.9% during the same period. Spending by overnight visitors is estimated at $5.3 billion, up 23% between 2009 and 2010. Visitors come to New Orleans for a variety of reasons: leisure (78%), convention and meetings (12%) and general business (10%.) Each of these groups offers the potential to generate visitors for the Louisiana Civil Rights Museum.

The market analysis was based heavily on the character and dynamics of the New Orleans and Statewide tourism marketplace, the attendance and revenues at local attractions and museums venues, and the performance at similar civil rights attractions around the country. Based on these inputs, we concluded that half of the visitors to the proposed museum will be African American, a national group that is growing in its spending power affluence. The Louisiana Department of Culture, Recreation and Tourism sponsored a tourism study of the state by TravelsAmerica. The 2011 study showed that 16% of state visitors are African American and that 19% of those to New Orleans are African Americans. Average household income of these visitors is $52,600, higher than that of the United States household average. This market segment is

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now estimated to spend $40 billion annually on travel. Travelers report their travels involve history and culture: 32% and trips with children: 32%. Both are favorable for the Louisiana Civil Rights Museum. (The African American segment of the market is actively involved in events and entertainment, and the Essence Festival, which targets the African American audience, brings approximately 400,000 in attendance each July.)

Existing venues in New Orleans offer an indication of how a planned museum could perform. While not all of these are museum venues, they are attractions that compete for the time and spending on cultural and educational activities in the region. The Audubon Nature Institute has three attractions (the Zoo, the Aquarium, and the IMAX Theater that could be better classified as edu-tainment and the attendance is solid for each. The key museums had estimated attendance as follows:

Museum Attendance (rounded) Cabildo 26,000 Presbytere 55,000 Southern Food and Beverage Museum 35,000 New Orleans African American Museum 20,000 National World War II Museum 374,000 The Historic New Orleans Collection 35,000 New Orleans Museum of Art 150,000 The Insectarium 193,000

The Louisiana Civil Rights Museum will have similarities to those museums that are oriented to history and culture. Based on the market performance of other museums around the country that relates to type and content, it is our forecast that this museum will have visitation greater than the Presbytere and less than the New Orleans Museum of Art.

Visitation at comparative museums around the country shows a wide annual attendance range: The Birmingham Civil Rights Institute at 145,000; the International Civil Rights Museum at 78,000; the Museum of Tolerance at 250,000 (or less), and the National Civil Rights Museum at 186,000. There are several additional comparable museums either planned or beginning construction: the National Center for Civil and Human Rights in Atlanta, Georgia; the National Museum of African American History and Culture in Washington, D.C.; and the Civil Rights Museum of Jackson, Mississippi. If all are developed, there will be similar museums in several of the surrounding states in the South.

Conclusion: Attendance and Revenues

• Given relevant local museum parameters as well as those of the United States comparisons, the base attendance is likely to be around 100,000 with some of the attendance from the Essence Festival attendees. Museum members should generate another 20,000 to 30,000 in attendance and revenue, for a total of about 125,000.

• Local pricing shows the average (or per capita) ticket revenue in the range of $5.50 to $6.50. Our estimate is that after accounting for some free admissions and low-ticket or

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free-ticket charges for students/children that that per capita at the Louisiana Civil Rights Museum will be in the range of $6.00 to $6.50.

• Potential retail sales are expected to be about $2.50 to $3.00 per capita, and if there is a café with a kitchen in the venue, it would generate about the same in food sales.

• The events and functions market in New Orleans is strong, given the large convention and social marketplace. We estimate the museum could rent 40 to 50 events annually, with about $2,000 in revenue per event. (This assumes a variety of spaces will be included from a boardroom to availability of the full museum.)

The location of the museum will affect attendance in that public transit, surrounding visitor activity, security, visibility, etc. impact attendance. The 125,000 attendance would be at an optimal location in or near the French Quarter, Warehouse District or CBD. There are several proposed sites that should be able to capture the full attendance levels: Woolworth, 234 Loyola, the Sanlin Building, and the LA Artworks which are all in the midst of the core tourist activities and are accessible by foot or public transportation. The McDonough No. 11 School and the Old Liberty Bank while just off I-10 are in less travelled areas and are not very accessible. We would forecast visitation to diminish in the range of 20% to 30% at these locations. The last two sites – St. Mary of Angels School and Louis Armstrong No. 19 are far from the core visitor activities, have difficult access and are in areas perceived to have safety issues and would experience a diminished visitation by 30% to 40% or more. These estimates can be applied to the 120,000 to 130,000 range to provide estimates of likely visitation at the various sites.

The final decisions for the museum need to overlay the market, site and facility strengths and weaknesses of each of the options.

COMPARABLE INTERPRETIVE INSTITUTIONS AND MUSEUM CASE STUDIES

The following is a summary of comparable institutions and museums to aide in creating the vision for the Louisiana Civil Rights Museum. In compiling this report, Gallagher & Associates researched civil rights institutions, as well as other organizations that tell stories related to civil rights issues through a different lens such as sports or music. The following areas were researched:

• Mission and content • Interpretive approaches and multimedia applications

Louisiana Civil Rights Museum Goals

The following goals have been identified in meetings and subsequent conversations as goals for the Louisiana Civil Rights Museum:

• Promote healing • Incorporate the story of New Orleans cultural diversity • Create a place for ongoing dialogue • Statewide connection

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• Educational programs • Attractive, multi-purpose rental facilities

Conclusion

The museums being created today are dynamic, interactive and engaging environments that transport their visitors through place and time. These museums are created around a story that unfolds through the design of spaces and buildings that incorporate a sense of time periods and themes. The primary driver for the visitor experience will always be the storyline and narrative arc. The advent of new media and interactivity are significant factors in creating a higher degree of involvement and emotional interaction with the visitor. There must be a thoughtful balance of media, interactive and audiovisual components with the physical spaces.

As the design team moves into the subsequent phases of development for the Museum, it will be important to differentiate the Louisiana Civil Rights Museum from the comparable institutions within this study so that there is a clear understanding of the importance of civil rights in the state of Louisiana. This will be the premier cultural institution committed to gathering, organizing, preserving, and celebrating the history of civil rights in the state of Louisiana. It needs to be your story!

SITE ANALYSIS

In Task 9, identified in the original Work Plan proposed for this Louisiana Civil Rights Museum Planning Study, we promised to assess potential specific sites in the New Orleans market area based on their ease of access, functional adjacencies, and public appeal. As we began to delve into this phase of the work, the Eskew+Dumez+Ripple/Manning Architects Joint Venture team developed a work process that included the collection of sites offered and additional sites recommended, the creation of a scoring mechanism with weighted factors for scoring of site alternatives, a prioritization of location opportunities, and ultimately a ranking of those sites proposed by the Board of Directors and those additional locations recommended by the Planning Team.

To evaluate the various museum sites up for consideration, we created a site filter based on our team’s experience both creating and visiting successful museums around the country. Of most importance, though, was our understanding of the uniqueness of the Civil Rights/African American Heritage museums and the nature of their attendance and membership participation. The criteria we established included the site’s proximity to important civil rights milestones, transportation access, visibility concerns, spatial fit, and ease of acquisition (among others). Once all of these factors were agreed upon and proportionately weighted by the team, we worked in a charrette session to evaluate the identified sites in a comparative manner. Whenever one site was given a certain number of points for a given criterion we then considered, and reconsidered the others in an iterative manner on that same criterion to assure proper comparing and contrasting.

The following list conveys our recommended sites for Board consideration in a rank order based on this process. Given that we know negotiations with current owners may be difficult, or even prohibitive, we would like to recommend the top three preferred sites move forward into concurrent conversations to ensure that the project is not slowed with singular preferences. Once the potential ownership opportunity

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for each site is identified, each should then be considered comparatively in weighting their potential costs for development and payback periods and attendance projections over time.

Recommended Sites (In Rank Order)

1. Louisiana Artworks Building (725 Howard Avenue) 2. Plessy v. Ferguson Site (Press Street at Royal Street) 3. Sanlin Building (442 Canal Street) 4. McDonough No. 19 (5900 St. Claude Avenue) 5. William Frantz School/St. Mary of the Angels School (5900 St. Claude Avenue/2224 Congress Street) 6. Pythian Temple (234 Loyola Avenue) 7. Woolworth Building (1301 Canal Street) 8. Municipal Auditorium (901 North Rampart Street)

Recommendations

Given the sites selected and studied, it is the recommendation of the Planning Team that at this time the Board of Directors immediately move forward with the following:

1. Conversations with the responsible holding parties at City Hall regarding the potential use of the Louisiana Artworks site. This site is clearly high ranking at this point of our effort and quick, initial conversations would be valuable in maintaining this option as a possibility.

2. Research parcels adjacent to the Plessy v. Ferguson site in the Marigny neighborhood to find potential sites available for ready acquisition. Initial conversations with the New Orleans Center for the Creative Arts (NOCCA) Foundation leadership team might also be valuable in order to gauge their interest in the potential location of the museum at that property.

3. Conversations with the current ownership of the Sanlin Building to get a quick gauge of interest in working with the State on the potential development of this institution at that property. Given this site’s scoring so high in our planning study, and its clearly strong location within the community, we feel that it would be prudent to get an understanding of this property owner’s interest.

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TASK 2: NEW ORLEANS REGIONAL AND STATE TRADE AREA CHARACTERISTICS

Demographic Characteristics and Trends

Southern Louisiana and the surrounding Gulf Coast region experienced a serious disruption in the demographics and the economy as a result of Hurricane Katrina (as well as Hurricane Rita). The immense damage caused a diaspora that is virtually unmatched in recent United States history. As a result, we have focused primarily on the 2000 to 2010 trend which has evened out some of the mid- term ups and downs, but which reflects what are likely to be long-term changes in the local marketplace. The population trends for the city of New Orleans are shown in Table 1 below:

Table 1. Demographic Trends in New Orleans: 2000 – 2010

Characteristic 2000 (%) 2010 (%) Change Population 484,674 343,829 (140,845) or -61.7%

Age Under 18 129,407 (26.7%) 73,235 (21.3%) Percentage Decline 18 – 65 298,559 (61.6%) 232,955 (67.8%) Percentage Increase Over 65 56,706 (11.7%) 37,639 (10.9%) Percentage Decrease

Race Caucasian 136,193 (28.1%) 113,463 (33.0%) Percentage Increase African American 326,185 (67.3%) 206,985 (60.2%) Percentage Decrease Latino 15,024 (3.1%) 17,879 (5.2%) Percentage Increase

Education High School Graduate 83.4% Bachelor Degree (+) 31.6%

Income Median Household $43,445 Per Capita $23,094

Source: U.S. Census Bureau

The information in the table shows the impact of Katrina with population loss and a decreasing percent of the total comprised of the groups under the age of 18; over 65; as well as African American.

The seven-parish region that includes Orleans Parish is also a key part of the resident market that will be a source of visitation to the Louisiana Civil Rights Museum. The trend in population between 2000 and 2010 in these parishes is shown below in Table 2. One of the key aspects of the information in this table is that it shows shifts within the region as well as the change in absolute

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numbers and percentage changes. The data for the region is somewhat less draconian in terms of population loss compared to the City of New Orleans. But as our summary of state trends shows, the region has suffered population loss while the state is stable. The regional population is expected to contribute a smaller share of visitation to the Louisiana Civil Rights Museum compared to the tourist visitors, which show growth in their numbers, as discussed later in this section.

Table 2. Population Trends in 7-Parish Region: 2000 – 2010

Parish 2000 2010 Change % Change Orleans 484,674 343,829 (140,845) (29.1) Jefferson 455,466 432,552 (22,914) (5.0) Plaquemines 26,757 23,042 (3,715) (13.9) St. Charles 48,072 52,780 4,708 9.8 St. Bernard 67,229 35,897 (31,332) (46.6) St. John 43,044 45,934 2,890 6.7 St. Tammany 191,528 233,740 42,212 22.0 Total 1,316,500 1,167,764 (148,736) (11.3)

This data shows a general decline in the population base of the region. But as significant is the shifting among parishes caused largely by Hurricane Katrina. The large increase in St. Tammany and the huge loss in St. Bernard are most noteworthy. This is important to the Louisiana Civil Rights Museum market analysis (which will be completed in a later phase) because the most immediate market for attracting resident museum visitors is in Orleans, Jefferson, Plaquemines and St. Bernard – all of which are the parishes with the population loss.

Louisiana has seen some minor shifts in population. In 2000 the population was 4.47 million and it grew to 4.53 million in 2010, a very slight increase of just over one percent. The population in 2010 had shifted in its age characterization: there was a somewhat larger population under 18 years of age, and a slightly smaller population over 65 years. The allocation of population between Caucasians and African Americans was essentially constant. In 2000 the Caucasian population was 2.86 million and in 2010 it was 2.83 million; the African American numbers showed a growth of less than one thousand above the 1.45 million counted in 2000. The Latino population in the state was about half of its current levels in 2000 – growing from 107,700 to 190,400. The state had a high school graduation rate of 81 percent in 2010; and a bachelor (or greater) degree for 20.9 percent of the population. Median income was $37,468 in 2010 and per capita income was $24,929 the same year.

In 2010, the educational and income levels in New Orleans were slightly better than those for the state aggregate. The state will also be a target market for the proposed museum, but the farther distance the residents are from the museum, the lower the market capture will be. It is important that New Orleans has greater education and income levels as these households are more likely to visit an historic-based museum.

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Economic Environment

There was some question concerning the long-term viability of the New Orleans economy after Hurricane Katrina caused the out-migration of local business to Baton Rouge, and in some cases as far as Houston, Texas. Some of these businesses have left permanently, and, for example, the remnants of the pre-Katrina petroleum industry in New Orleans are now likely to be located in Houston. However, in the dismal U.S. economy, Louisiana and New Orleans are both bright spots. The state as a whole added 47,400 jobs in 2011, while most of the rest of the country languished. According to the U.S. Bureau of Labor Statistics, in the New Orleans labor market, between July 2011 and November 2011, unemployment dipped from 7.8 percent to 6.5 percent, a much stronger showing than the U.S. which was at 8.5 percent unemployment at the end of 2011. Non-farm employment in the region grew from 527,200 in July 2011 to 531,000 in December 2011. Broad categories of growth are in the sectors of trade/transportation, professional/business services, education/health, leisure/hospitality and government.

New Orleans has continued to see shifts in its economic base. Past industries such as ship building, space research and manufacturing, and banking are largely diminished in New Orleans in the current economy. However, the growing sectors include health care, technology, bio-medical spurred by the new BioInnovation Center, and tourism – which is discussed in the next section. Manufacturing has held steady.

The tourism industry is essential to the proposed Louisiana Civil Rights Museum because a large share of the museum’s attendance is expected to come from tourists to the area – both leisure and convention/association meeting activity.

Tourism and Visitation Trends

Tourism has been a mainstay of the New Orleans economy for several decades. There have been recent strategic initiatives to enhance and grow this market and its related spending. Hurricane Katrina caused a down shift in visitation, convention and tourism business, but the market has been growing back in numbers and spending since 2007. The New Orleans Convention and Visitors Bureau publish an annual report on the state of tourism in the region. The report, 2010 New Orleans Area Visitor Profile, was prepared by the University of New Orleans and has provided detailed information on the characteristics, attitudes and spending of the visitors to the area.

The table below shows the four-year trends in visitation, accommodations (including visiting friends and relatives or hotels) and room nights. It shows the trends since Katrina, which have been on an upward trend during this time period.

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Table 3. Visitor Trends: New Orleans, 2007 – 2010

Year 2007 2008 2009 2010 Change: 09-10

Visitors 7,082,602 7,600,612 7,549,725 8,288,034 9.8%

Overnight Hotel 3,114,830 3,706,888 3,592,885 4,244,725 18.1% Visiting Friends and 1,961,727 2,148,836 2,190,286 2,366,517 8.% Relatives Other 567,912 498,387 486,876 533,044 9.5%

Daytrippers 1,438,133 1,246,500 1,279,678 1,143,749 -10.6% Occupied Room 6,948,803 7,534,511 7,072,071 8,147,306 15.2% Nights Spending (billions) $4.462 $5.089 $4.284 $5.294 23%

Source: 2010 New Orleans Convention and Visitors Bureau

While there are fluctuations in these figures, there has been an upward trend during the past four years, and most notable has been the increase in estimated visitor spending from $4.462 billion in 2007 to $5.294 billion in 2010 which was identified in the recent Convention and Visitors Bureau study.

The study also estimates that the visitor mix is comprised of vacation and pleasure; associations/conventions/trade shows and corporate meetings; and general business. Over 60% of the visitors are repeat visitors, and the breakdown among these groups is as follows:

Vacation/Pleasure 77.7% Association/Convention 11.9% General Business 10.4%

An important factor to note is of those who come to New Orleans primarily for business; nearly half of them extend their stay for pleasure purposes at an average of 2.1 nights. The summary 2010 in the table above shows that 57.6% of the visitors stay in hotels; 35.1% of the total stay with friends and relatives; and other accommodations account for 7.4%. The average party size is 3.1 persons, with the average number of adults at 2.7. (Only 13% of the visitors come to New Orleans with children.) Just over half arrive by air and the bulk of the remainder by personal vehicle.

Travelers to New Orleans tend to be more mature in age. About one third of the total is between the ages of 50 and 64; another third are 35 to 39; and there are 12% retirees. The remainder are primarily between the ages of 18 to 24 – a group that is diminishing as a share of the total.

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Visitors to New Orleans tend to be relatively well heeled, with the following breakdown in household income:

Under $25,000 6.8% $25,000 – $49,000 17.1% $50,000 – $74,000 22.6% $75,000 – $99,000 18.3% $100,000 – $149,000 22.2% $150,000+ 13.0%

Most of the travelers that were interviewed for the 2010 New Orleans Area Visitor Profile indicated that the downturn in the economy did not have a major impact on their visitation to New Orleans, but about a third spent less in total, about one quarter spent less on food, and about one-sixth spent less on attractions. However, the spending on a per capita basis remained fairly high. Those who stay in hotels spend $856 in total, or $223 each day. And conventioneers spend $1,012 in total, or $196 per day. Those staying with friends and family spend less at $223 total (without hotel costs).

The expenditure categories are shown below:

Table 4: 2010 Trip Spending by Pleasure Visitors and Conventioneers

Category Pleasure Visitors ($) Conventioneers ($) Lodging 98 470 Restaurant 182 231 Bars/Night Clubs 64 60 Local Transportation 28 44 Entertainment/Recreation 77 65 Shopping 120 142

Total 569 1012

The convention business is very seasonal in New Orleans – in fact, it is generally seasonal throughout the United States. Recent data shows that in New Orleans January through April are strong months for conventions; May to September are slow; October and November are strong; December is slow. In 2010, there were 726 conventions and over half of these occurred in the five strong months. The convention history is as follows:

January 79 February 80 March 78 April 97 May 56 June 49 July 40 August 34

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September 40 October 79 November 64 December 30

An important point, the Essence Music Festival – which moved to Houston after Katrina and has since returned to New Orleans. It is the largest African American event in the United States, and it is held in July bringing thousands of overnight visitors to the area.

Related Programs, Organization, and School Enrollment

The potential for the Louisiana Civil Rights Museum will, in part, be defined by the success at coordinating with related programs and interests including the broader education offerings in New Orleans and Louisiana. This will include existing civil rights organizations, related activities (for example the New Orleans African American Museum, the National World War II Museum, Tremé neighborhood attractions, etc.). Currently there is a major State program to upgrade educational services that will enhance student performance and funding. The statewide elementary and high school enrollment is approximately 850,000 with an estimated 45,000 teachers. In New Orleans, there are about 40,000 students enrolled in the City’s public schools, and 12,000 in Charter schools according to the New Leader, as well as an additional number in private schools. From 2000 to 2010 the share of students enrolled in public schools has fallen from 60% to 54%. Furthermore, in New Orleans the public school enrollment is declining as a result of diminishing household size and declining population base.

Given the existing number of educational organizations, parent groups and teachers associations, as well as related programs of the local/state universities, there is a strong potential for linkage and partnerships to enhance the overall activity at the Louisiana Civil Rights Museum. As this project proceeds, the team will identify (with the client) target organizations, their programs, and contacts so that we can discuss with them their civil rights facility priorities, and possible coordination with the proposed museum.

A recent report by the Southern Poverty Law Center, which teaches tolerance programs, concluded that related educational programs in Louisiana warranted an "average" grade. Given the emphasis on improving education in the state and the perceived importance of the topic, we would expect that part of the programs and the visitation to the proposed Civil Rights Museum would be linked to this market opportunity.

However, current government budget challenges and other issues could limit the revenue potential linked to student visitors and teachers programs. Because of the importance of the civil rights program history and the increasing efforts to improve educational programs, all sources of income to support capital investment and operations (public, non-profit and private funding) could pay a significant role in the future success and impact of the Louisiana Civil Rights Museum.

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TASK 3: OVERVIEW OF NEW ORLEANS AREA MUSEUMS, ATTRACTIONS AND ENVIRONMENTS

Other Attractions in New Orleans

The attendance levels of existing museums and venues in a metropolitan market are generally excellent indicators of the potential for a new concept in the same market. In a market like New Orleans, where the population and economic base are in a period of transition, and the tourism market is rebuilding, the Louisiana Civil Rights Museum would both compete and complement the existing attractions. This new museum would need to build its market largely from the existing tourism market, especially the African American visitors. The city is reportedly the ninth poorest large city in the country with its African American residents among the very poor. As a result, it is the African American middle income visitors, as well as New Orleans visitors from all other races, that need to be the primary target markets.

The information in the summaries below was provided by the various major venues that BaxStarr Consulting Group interviewed during our data collection efforts, shown in no order of preference. In addition, the Louisiana State Museum system has venues in the French Quarter, including five properties: The Cabildo, The Presbytere, 1850 House, Old U.S. Mint, and Madame John’s Legacy house. The Cabildo and The Presbytere sit on the historic Jackson Square. According to the State Museum’s staff, the total visitation to these facilities is about 96,000 per year. Tickets are affordable with the 1850 House, in the range of $2 to $6 depending on the age, military, etc. The Old U.S. Mint and The Presbytere have admission charges in the $5 to $6 range with children’s admission being free. Furthermore, these facilities are used for events and functions, with most of the events occurring in the larger facilities, but even Madame John’s hosts events in the more temperate months. There are 50 private events on an annual basis, bringing in an average of $4,200 for the rental space. The party hosts can use any licensed and insured caterer, but the State Museums provides a list of recommended companies.

According the State Museum’s staff, the January 2012 ticket admission (which is considered to be a typical month) statistics are shown below. By extrapolating to a 12‐month period, we have calculated the attendance to the key museum attractions:

Venue January 2012 Ticket Sales Annual Ticket Sales (E) The Cabildo 2,181 26,172 The Presbytere 4,573 54,876 1850 House 218 2,616 Old U.S. Mint 1,015 12,180

Total 95,844

The museum staff indicated that visitation has some seasonality; specifically April with school groups and French Quarter Festival pumping up the visitation. The average ticket price for all the four venues is $5.50. In the past year, the 1850 House and the Old U.S. Mint were closed for improvements, so the estimated numbers above reflect the full operations of the four attractions.

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The Southern Food and Beverage Museum

This is a relatively new museum in New Orleans, having opened in June 2008. It is currently located in the Riverwalk Marketplace in the space closest to the convention center. The museum will be relocating to a larger facility on Oretha Castle Haley Boulevard, with an attached restaurant when the current lease expires in 2013. The new facility will be augmented with demonstration cooking facilities, lecture rooms and a children’s play space.

The mission of the museum is to document, preserve and celebrate the food ways of the American South. In addition to the exhibit space, the museum has set up alliances with roundtables in Washington, D.C., a New York University studies program, legal education in conjunction with Tulane University, and hosts a Yale intern each summer.

The current space is approximately 30,000 square feet. Annual attendance is 35,000 people with only a few (250) visitors being complimentary ticketed. The visitors to the museum are 70% to 80% of the total; special events comprise most of the remainder, but some of the visitation is by members of the museum. Total membership is approximately 600 people, with two levels of payment. The first is $50 for individuals who can come to programs at no charge or a discounted price; the family membership is $75.

The per capita (average) ticket revenue is $6.00 after taking into account discounted admissions which are given to seniors and students at $5.00. Retail spending per capita is in the range of $10 to $15. Special events, evening rentals and receptions, bring in about $25,000 to $30,000 annually. A portion of the operating costs are provided by corporations and individuals.

The facility has also included coverage of civil rights related subjects with the dedication of the Leah Chase Gallery that has links to the Louisiana civil rights evolution. At the new location, a lunch counter exhibit is planned to show the segregation of the past.

The New Orleans African American Museum

This museum was incorporated in 2000 in what was then a blighted area in Tremé. It is located in a Creole villa. Initially a Community Development Block Grant (CDBG) assisted in the property assembly and in the renovation of the structures. The museum expanded into adjacent historic houses, which are in various stages of renovation. The villa house has the main exhibits which are largely art and historic documents, and adjacent shotgun houses and cottage are the art galleries that are oriented to neighborhood and educational exhibits. Initially the concept for the museum was a community art center. Today it has permanent exhibits such as the Derrick Beard collection.

The 8,000 square foot facility is open four days per week from 11 am to 4 pm. The attendance is fairly balanced between Caucasian and African American, with an estimated 40% Caucasian and the remaining 60% African American, comprised largely of school groups. Management has estimated that 40% of the visitors are tourists. Some of the attendance is also simply “walk ups.” Local residents come for special events such as the Martin Luther King exhibition, and there are some private events but space is currently limited. Museum management has indicated that visitation is low, due in part to a lack of access to public transportation to the site.

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Membership is limited, and there is an expectation of additional CDBG funding that will provide additional funding for operating costs; Federal Historic Tax Credits could provide another $4.7 million of which $4 million would be targeted for the rehab/construction of the final building, with the remainder planned to be targeted for related operating costs.

Special events and functions are relatively well attended. Museum visitation is annually 20,000 with an average ticket price of $5.50.

National World War II Museum

The National World War II Museum opened in 2000 as the National D‐Day Museum in the Warehouse District in New Orleans. The Museum has been a long-term client of Gallagher & Associates. It was founded by Steven Ambrose, with the intent of telling the American experience in the war around the globe, and the related price of freedom. Subsequent to that original museum development, the venue became the National World War II Museum. During the period of 2004 to 2009 additional facilities were added: the Solomon Victory Theater, the Stage Door Canteen, the American Sector Restaurant, and some exhibit space. The theater hosts the 4D movie, Beyond All Boundaries, narrated by Tom Hanks; the restaurant offers period cuisine by Chef John Besh, and the Stage Door Canteen has 200 ticketed performances annually.

The museum continues to expand. Construction is underway for the United States Freedom Pavilion: The Boeing Center which will open in November 2012 and the Campaigns of Courage Pavilion which is expected to open in the Fall of 2013. Design is underway for the Louisiana Memorial Pavilion Train Station and Liberation Pavilion. An RFP was recently issued for the development of the adjacent site for mixed use, such as hotel, conference, retail, and parking. The museum has secured a variety of funding for this expansion, largely federal, state, private and institutional.

This museum has featured several aspects of civil rights in its activities and exhibitions. There will be a restored P‐51 Mustang Red Tails fighter plane of the Tuskegee Airman and there are also workshops and lectures about the 332nd Fighter Group, as well as Black History Month. There is the plan to include in the future pavilions the impacts that World War II had on racial/ethnic and sexual practices in the United States.

Hurricane Katrina impacted the attendance and expansion activity of the museum. The most recent data shows that there were 370,000 annual visitors who paid for tickets and about 4,000 complimentary visitors. Per capita ticket revenue was $15.60. Total food and beverage revenue was $4.7 million which included the restaurant, catering of events and food sales at the Canteen. Non‐restaurant food revenue comprises about $2 million of this total. There are about 100 private events which rent space and pay $300,000 in rent. The 4D Theater receives 280,000 visitors who pay between $5 and $11.

Currently the facility has the following major components of space (square feet):

Louisiana Memorial Pavilion 94,033 Victory Pavilion 35,212 Stage Door Canteen 18,445 Special Exhibits 20,720

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Central Plant 16,170 U.S. Freedom Pavilion 26,540 Liberation Pavilion 26,540 Campaigns Pavilion 31,435 Restoration 14,214

The current space of museum and related activities is about 104,000+ square feet and ultimately with the planned additions, the total space will be 283,000+ square feet. Based on the 350,000 attendance, this museum has penetrated the tourist market at a 4 percent level.

The Historic New Orleans Collection

This facility has been a long‐time client of the BaxStarr Consulting Group principals. The Historic New Orleans Collection’s (THNOC) mission is somewhat varied: tell the history of the region and to preserve the culture, cuisine, music, art and unique activity of the region. It has included civil rights history in some of its exhibitions. It is a heavily endowed organization by the Willliams Foundation, and it opened in the 1960s. Because it has one of the highest endowments in Louisiana, its business model is different from most other museums. THNOC also has the Williams Research Center with 350,000 library items of books, photographs, art, and artifacts, as well as the former Williams house – all in the French Quarter.

It offers an array of special activities: lectures, music and house tours on site. It is one of the venues for music events at the French Quarter Festival. It does not charge admission to the museum space, but does charge for certain of the special events. The annual attendance is about 35,000, with some additional visitation for special events. This translates into less than 1 percent of the metro tourist count. The venue is on one of the main streets in the Quarter, which would cause us to assume that most visitors are tourists.

New Orleans Museum of Art

The New Orleans Museum of Art is the oldest museum of fine art in the city. It is located in City Park. It has gone through some changes since Hurricane Katrina. Originally the mix of visitors to the museum was 70 % tourists from out of state and 30 percent regional. This has shifted to a 60‐40 mix, with 60% the share of tourists. After Katrina, the admission for Louisiana residents was free and most visitors were local. The Femmes, Femmes, Femmes exhibit sponsored by the country of France kicked off the re‐opening of the museum. While the admission is no longer free, the ticket revenue does not have a history to show the income level trends. The museum is free on Wednesdays and the cost of the operations this day is covered by a grant from the Hellis Foundation, offering lower income groups access to the museum.

In addition to the art exhibits, the museum has a variety of other components: family‐oriented crafts for children, lectures with a curator or in the museum and films. The museum can be rented for events such as weddings, corporate parties or convention groups. There are about 40 of these events annually and the rent ranges from $500 for the boardroom to $12,000-$14,000 for the whole museum. Recently the production crew of a Will Farrell movie being shot in New Orleans rented the museum for 36 hours.

Total attendance was 150,000 in 2011. The museum has a retail store that captures sales at $3.50 per capita. The café was not profitable when the museum managed it, and it has since been taken over by Ralph

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Brennan, who has kept good price points for the food service. As a result, the museum gets a minor rent from this space. Access to the facility was enhanced by the extension of the streetcar line to City Park, and the museum management has indicated that visitation increased by 30% as a result. This points out the importance of good public transportation (or other access) to an attraction. At the 150,000 attendance levels, considering tourism as the measure, the New Orleans Museum of Art captures 2% of the visitor market.

The Audubon Nature Institute

The Audubon Nature Institute operates four of the largest museums/attraction venues in the New Orleans market: the Aquarium of the Americas, the IMAX theater, and the Insectarium – all in the riverfront downtown tourist area as well as the New Orleans Audubon Zoo in Audubon Park near the River Bend area. The Institute has provided BaxStarr Consulting Group the detailed attendance figures for each of these attractions. We have aggregated some of these numbers for clarity:

The Aquarium of the Americas (AAOA) Total attendance in 2011 was 735,870 comprised of general admission at 235,981; groups and combos at 224,527; members at 180,374; coupons/volume at 59,766; special events and community groups at 15,780 and another 19,352 free.

IMAX Theater Total attendance in 2011 was 212,635 comprised of general admission at 34,918; groups and combos at 157,834; members at 15,307; coupons/volume at 3,556; special events and community groups at 104 and another 916 free.

The aquarium and the IMAX have together 168,104 square feet.

New Orleans Audubon Zoo Total attendance in 2011 was 861,937 comprised of general admission at 255,963; groups and combos at 172,507; members at 287,709; coupons/volume at 45,435; picnics and swamp tours at 62,366; community groups at 4,109 and another 38,080 free. The zoo has 2.5 million square feet, or 57 acres.

The Insectarium Total attendance in 2011 at the four attractions was 192,748 comprised of general admission at 36,721; groups and combos at 99,226; members at 30,975; coupons/volume at 15,584; special events and community groups at 387 and another 9,855 free. The Insectarium, most like a museum venue, has 27,000 square feet.

Total attendance is just over 2 million and the Institute indicated that the average per capita income for all attendees is $7.46 million. In 2010, total attendance was at 1,970,581 and the 2011 broken out details show that in 2011 attendance at the Zoo and Insectarium was up, and the Aquarium and IMAX attendance numbers were down. The detailed published rates for 2012 tickets are shown below:

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Table. Audubon Nature Institute 2012 Rate Structure: General Admission, Audubon Experience, Combos AAOA IMAX Insectarium Adults $16 $21 $10.50 Children $11 $14 $7.50 Seniors $13 $17 $9.50

Summary of New Orleans Comparables

The market penetration (visitation) to the Louisiana Civil Rights Museum will be estimated, in part, by the marketplace parameters that we have defined at the existing and somewhat comparable museums in the area. We have taken into account the level of visitation to these venues, the character of the visitors where it has been tracked (local vs. tourist), the size of the facilities/the extent of their content and the experience offered, the pricing that reflects what is supportable in the market, etc. The museums that we characterized are summarized below.

Table. New Orleans Museum Attendance Metrics

Museum Size (sq.ft.) Ticket Prices Normalized Market Events/ Per Capita Attendance Penetration Income (Estimated) (Tourist Market) Southern Food and 35,000 $6.00 per 1/week; Beverage Museum 30,000 (includes 0.4% capita $30,000 members) Not Available: New Orleans African 8,000 1/3 adult; 1/3 20,000 0.2% Some events American Museum student; 1/3 senior National World War II $15.60 per 100; 104,000 370,000 4.5% Museum capita $300,000 The Historic New Orleans 25,000 Free 35,000 0.4% N/A Collection New Orleans Museum of $6 - $10 40; revenue 150,000 1.8% Art per cap N/A N/A Audubon Nature Institute: 27,000 $7.45 33.7% for all; 2 million: see varied (in the per cap 2.3% for Varies text details Insectarium) aggregate Insectarium

Museums with different missions, programs and content typically perform differently in their market as can be seen in the market penetration column in the table above, which is based on tourism totals. The museums draw from different geographic markets. For example the National World War II Museum, the Audubon Nature Institute venues and the Historic New Orleans Collection draw national and international visitors. The Southern Food and Beverage Museum is primarily regional and the New Orleans African America Museum is more local. Each of these facilities has some mix of resident and visitor attendance; the Zoo, for example is primarily resident based. In our table, we have developed market metrics based on

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tourism only as most of the facilities do not have a detailed survey or characterization of their visitors – rather some general ideas.

Market penetration for the facilities in the table above varies broadly. The Audubon Nature Institute venues have the highest market penetration with over 22% total. But the four venues vary among themselves: the Aquarium of the Americas has a penetration of 8.3 percent; the IMAX Theater is at 2.4%; the Zoo is at 9.8% (but is unique in its draw); and the Insectarium is at 2.2%. The National World War II Museum penetrates in excess of 4%, both Southern Food and The Historic New Orleans Collection are below 1%t, and the New Orleans Museum of Art is at nearly 2%. Museums tend to perform differently, even in the same market. Those with general interest like art and aquariums draw from a broad audience and have higher market penetration and special topic museums tend to have a more limited market penetration.

COMPARABLE UNITED STATES MUSEUMS

Introduction

The concept of museum venues that focus on African American history and civil rights has become popular in recent years, with a new facility under construction in Atlanta, a national museum planned in Washington, D.C., and another civil rights museum proposed in Jackson, Mississippi. Should all these planned and proposed projects come to fruition, many of the states in the United States South will have attractions with similar content and mission, including the Louisiana Civil Rights Museum, The Old Slave Mart Museum in Charleston, South Carolina, the Birmingham Civil Rights Institute, the International Civil Rights Museum, Greensboro, North Carolina, the Civil Rights Museum, Montgomery, Alabama, the Tubman African American Museum, Macon, Georgia, the Ralph Mark Gilbert Civil Rights Museum, Savannah, Georgia, and the National Center for Civil and Human Rights in Atlanta, Georgia, etc.

Several of these are profiled in the following section, with information on two of the planned museums at the end. Potentially relevant museums were profiled in terms of mission, content, visitor activity, pricing, revenue, etc. to identify any relevant implications for the proposed Louisiana Civil Rights Museum. While these other museums have variations in their scale, focus, content, location, environment, etc., there is a general civil rights theme of history, collections, arts, people, and implications shown in varying size, exhibits, events, education, services, revenue sources, and expenses. The museums we reviewed generally had some program similarities with what is being considered in the proposed museum.

General findings included the performance trends and the current implications of attendance, funding, and potential program expansion. As pointed out by the American Association of Museums, in the past decade the average museum’s funding from pubic sources has declined from 39 percent to 24 percent of costs. Endowments have also diminished.

Our conversations with museum staff revealed ongoing efforts to make exhibits and programs more attractive for increasingly diverse target audiences – in terms of interests, education, age, income, etc. Another common concern involved defining concepts, attractions and events to encourage repeat visits. Several findings that could have specific implications for the proposed Louisiana Civil Rights Museum include:

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1. Several museum programs that focus on education and school programs indicated that, while beneficial for obtaining financial support, the recent economy and budget limitations have begun to limit participation by schools.

2. Funding and revenue levels are creating challenges to these (and museums in general). For example, the Freedom Center in Cincinnati has been facing serious operating shortfalls, closed February 6, 2012 with a budget deficit of $1.5 million, and merged with another museum.

3. Museum club memberships and activity are generally seen as increasingly important to facilitate visitation, contributions, community support, etc.

Comparable museums generally offer exhibits, film, libraries and archives, events as part of their programs as discussed below.

Birmingham Civil Rights Institute | Birmingham, Alabama

This venue opened in 1992 in the Birmingham Civil Rights District. The main focus of the programming is the civil rights movement in the 1950s and 1960s. The self-directed exhibits include Birmingham’s contributions to the civil right movement and human rights struggles. The oral history multimedia exhibit documents Birmingham’s role through the voices of movement participants. The overall goal includes recalling the civil rights struggle and celebrating the changes it produced through an action-oriented program. This includes comparing Birmingham’s civil rights process with the rest of the United States.

The museum has 26,500 square feet of permanent exhibit space and 3,000 square feet of temporary exhibition space. The facility’s community meeting room serves 54 people, the rotunda area 300 and the common area 80. All the meeting spaces are available for rent. There is also a gift store on site. In 2009, the venue completed its first major expansion program of additional exhibitions that focused on major Birmingham civil rights events as well as the new Human Rights Gallery with interactive, multimedia stations and displays.

Published admission charges are $12 for adults, $6 for students and $3 for children. Children under 17 that reside in the local county have free admission. Annual attendance is estimated in the 140,000 to 150,000 range with approximately 60% from outside the county or state. It is also estimated that 60% are students (K through 12) and 53% are African Americans. Memberships provide 25% of the annual income. Attendance revenue for 2011 was $347,572 and the retail revenue was $127,491 from the gift shop. Recognizing that the majority of attendees are school children, the average spending per visitor is $3.25. The program also receives $700,000 annually from the City of Birmingham which owns the museum building.

We have been told that in 2010 the museum had to cut its budget by 30% which involved closing on Mondays. Funding is viewed as an increasing issue for the program.

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International Civil Rights Museum | Greensboro, North Carolina

This project was initiated in 2001 and it opened in 2010 at the site of the 1960 Greensboro sit‐in movement in a downtown Woolworth’s store. The two‐story museum contains 30,000 square feet featuring seven exhibits showing the challenges African Americans have faced in the struggle for equal rights and the Greensboro sit‐in story. Also included are exhibits showing a timeline of the civil rights movement from the 1857 Supreme Court Dred Scott decision through to the 1988 Civil Rights Restoration Act. The facility has a 300-seat auditorium, a 125 person conference room, 125 person gallery as well as an online gift shop.

Other program activities include documentary films, Saturday children’s story hour and daily museum tours. Published admission costs are $12 for adults, seniors and students are $8 and children $6. The staff indicated that church and school tours are also popular.

Visitation information provided showed that there were 78,000 visitors in 2010 and 65,000 visitors in 2011. The average per capita ticket income is comprised of $7.65 per capita in tickets and admissions, approximately $4 in per capita gift shop spending. Total admission revenues typically range between $400,000 and $450,000 annually.

Museum of Tolerance | Los Angeles, California

This facility opened in 1993 with exhibits, special events and customized programs that explore the history and dynamics of bigotry and discrimination in our past and current society. The four main exhibit areas include the Holocaust section, the Tolerance Center, Finding our Families program, and special exhibits.

This is a major facility with over 100,000 square feet of space on several levels that are linked by circular walkways. The venue has the 300 seat Peltz Theater, the 100‐seat Hertz Theater, the 35 seat Wosk Theater, a 60 seat conference center and several classrooms. These features support the ongoing programs, workshops, school trips, training programs and group tours. There is a substantial retail/gift shop on the first floor.

Since opening, the project has reportedly attracted approximately 5 million visitors of whom 65% are students. Including the students, this is approximately 250,000 per year. In 2011, Los Angeles had an estimated 26.9 million tourists to the area. This would translate into an approximate market capture rate of about 1 percent of the total.

National Civil Rights Museum | Memphis, Tennessee

This museum is a privately owned project located at the Lorraine Motel where Martin Luther King was assassinated in 1968. The motel was closed in 1988 and $8.8 million was spent to convert it to the museum that was opened in 1991. A 12,000 square foot exhibit building called “Exploring the Legacy” was added in 2001. A major renovation of the permanent exhibit area is underway, including a visitor interactive program with new films and technology.

The mission of the museum is to promote better understanding of the struggles involved in civil right in the U.S. from the days of slavery through the 20th century. Features include collections, exhibitions, research

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and educational programs as well as motel room 306 where Dr. King stayed. Exhibits include photographs, newspaper accounts and three‐dimensional scenes of major civil rights events.

The National Civil Rights Museum features a Freedom Awards annual event, story hour programs and has a gift and book store. There is a school outreach program involving up to 350 students and teachers who attend three events during the year. Published admissions/tickets are $13 for adults, $11 for seniors and $9.50 for children. An estimated 3 million visitors have come to the museum since its opening in 1991. With 186,250 paid attendance in 2011, ticket sales revenues were $1,750,000 and there was an additional $849,000 in gift store retail sales. On a per capita basis, ticket revenue is $9.40 and $4.55 in per capita retail sales. The Memphis Convention and Visitors Bureau indicate that tourism averages 10 million per year in the region; and this translates into a market penetration of 1.5%.

National Underground Railroad Freedom Center, Cincinnati, Ohio

A ten‐year planning and funding process led to the opening of the $110 million Freedom Center in 2004. This is a 158,000 square foot facility with three major pavilions featuring civil rights courage, cooperation and perseverance. There have been five permanent exhibits focused on U.S. slavery including the escape process (the Underground Railroad) and the end of slavery. The exhibits total 130,000 square feet of space.

The museum also has a 300‐seat theater, a Discovery Room seating 80 and the North Star Café which is also open to the public. The theater can be rented for $1,500 and the entire museum has been available for a fee of $6,600. Tickets have been priced at $12 for adults, $10 for seniors and students, and $8 for children. Available data indicates a total attendance of 123,000 visitors in 2011.

On February 6, 2012, the museum closed after incurring a budget deficit of $1.5 million. Because of the low attendance levels, the program budget had been reduced from $12.5 million in 2004 to $4.6 million in 2011 with staff reductions from 120 employees to 34 during the same period. It has been noted in the press that the project received no state, city or county funds as a result of local anti‐tax groups that opposed subsidies for the museum.

On February 14, 2012, the National Underground Railroad Freedom Center and the Cincinnati Museum Center announced plans to merge their operations. Both museums may maintain their own programs and locations, but will unite their operations and planning.

The National Center for Civil and Human Rights | Atlanta, Georgia

This venue has entered the phase of building construction and is planned to open in 2013. It is located in downtown Atlanta at Pemberton Place between the new World of Coca‐Cola and the Georgia Aquarium. The site was donated by Coca-Cola. Initially some historic sites were considered for this attraction, but the City made the decision to maximize its attendance and exposure at a visible, tourist‐oriented location where it will be more of a destination.

Initially the space was planned at 100,000 square feet and then scaled back to 90,000 square feet. Fundraising challenges lead to the decision to phase the development and the first phase will contain 30,000

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square feet. The full development of the museum will include exhibits, events space, retail, and space for public gatherings.

The focus of the project is the history of African American freedom and equality. The venue will be a human rights resource for education and exploration for all ages. It is expected to contain permanent exhibits from the Morehouse College Martin Luther King Collection, Without Sanctuary – a photography exhibit, and the Benny Andres John Lewis Collection of folk art. At some time in the future there will be an introductory film. Another concept involves the facility serving as a catalyst for increasing interest and visitation to other regional and state historic sites. This process could include joint marketing, ticketing, and research collaboration.

The original feasibility study commissioned by the Mayor’s office forecast 800,000 in annual visitation; this has been scaled back to 350,000 for the modified first phase facility and program. During the first two years visitation is expected by be primarily African American, but by the third year it is forecast to be balanced racially. The current business plans show full‐price ticket options at $12, $15, and $18. There will be additional income from catered events and retail sales.

The Atlanta City Development Authority has approved the current plan and funding will come from the Tax Allocation District ($40 million), corporations, foundations and individuals, to cover the $65 million in costs of the first phase. The New York Times recently highlighted the National Center for Civil and Human Rights, and its fit in the mix of civil rights‐related museums and venues.

Atlanta statistics show that there are an estimated 37 million annual visitors to the region. A considerable portion of these visitors are African American, given that Atlanta is reportedly the number one visitor destination for African American tourists in the United States. If the revised visitation forecast is accurate, and if the market penetration estimate is linked to tourism, this facility is estimated to capture about 1% of the tourist market to the area.

RECENTLY ANNOUNCED CIVIL RIGHTS MUSEUMS

The National Museum of African American History and Culture | Washington, D.C.

This $500 million museum broke ground on the National Mall in Washington, D.C. in February 2012. When it opens in 2015, the facility is currently estimated to have a total of 323,000 square feet of exhibits and will present 200 years of African American history in the United States. It will focus on three topics: history, culture and community through stories from those involved. It will tell Americans this story through an African American lens from colonial times through the present days.

The project will present 20,000+ artifacts, primarily donated by families and collectors. To date, the museum has received $75 million from the U.S. Congress and raised an additional $100 million in commitments from businesses, foundations, and individuals. The project is located between the American History Museum and the Washington Monument that attract millions of visitors each year.

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Proposed Civil Rights Museum | Jackson, Mississippi

This proposed museum is planned at a downtown Jackson location, and has been forecast to open in 2017 adjacent to another planned venue, the Mississippi History Museum. The project was proposed in 2007 and proceeded with some debate over funding; specifically, should private funds be collected before State funds are committed.

The Civil Rights Museum is planned to include 20,000 square feet of permanent exhibit space and 3,000 square feet of temporary exhibits. It is anticipated that exhibit costs will be $24 million. Both projects are part of the planning for the state’s 2017 bicentennial programs.

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KEY AFRICAN AMERICAN DEMOGRAPHICS

According to sources BaxStarr Consulting Group has interviewed in our data collection process, it is likely that when the Louisiana Civil Rights Museum stabilizes (after the first couple of years of “honeymoon attendance”), the racial mix attending the museum will be about evenly balanced between African American and Caucasian visitors. This is a substantial shift from national trends. According to ArtsNewpaper.com, minority museum attendance nationwide is about 9% of the 850 million museum visits estimated by the American Association of Museums. This totals 76.5 million minority visits. As a result, it is important to characterize demographic characteristics and tourism characteristics for the African American marketplace.

According to Louisiana Weekly magazine, by 2015, the buying power of the United States African American population will be 1.1 trillion. The magazine also indicates that there has been a tremendous increase in the number of African American families that earn more than $75,000.

According to BlackDemographics.com (census data summary), there are 42 million African Americans in the United States, comprising 13.6% of the country total in 2010; this is up from 36.4 million – about a 16% increase – in 2000 when the share of the total was 12.9%. In the southern states, there are 23 million African Americans, or 55% of the U.S. total. In the state of Louisiana, this number is 1.45 million, or 32% of the state’s population.

The comparison of African American household income to the country’s income levels is shown below:

Income Range ($) U.S. Households African American Households Under 35,000 36.3% 52.3% 35,000 – 100,000 43.7% 38.4% 101,000 – 200,000 16.0% 8.1% Over 201,000 4.0% 1.2%

The median household income for African Americans was $29,328.

The State of Louisiana Office of Culture, Recreation and Tourism (CRT) commissioned TravelsAmerica to prepare a 2011 visitor profile of the state and its submarkets. The survey research of this study found that 16% of the visitors to the state were African American (16% of the 14.936 million visitors in 2011 or nearly 2.4 million). The figure was even higher for New Orleans at 19% of the approximate 8.3 million region visitors, or 1.58 million African American tourists. The African American visitors had an average household income of $52,600, much higher than the United States average.

Black Meetings & Tourism Magazine reported that African American travelers in the United States spend $40 billion each year on travel, both U.S. and foreign. The share of foreign travel is about 7% to 8% of the total. This indicates that there is a tremendous spending of the emerging African American middle income (and upper income) households to be captured. The magazine also reports that the main reasons for African American household travel are:

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• Visiting historical site/cultural activity – 32% • Family reunions – 29% • Business travel – 27%

In this demographic group, 50% are inclined to visit attractions that focus on African American history and culture, and 46% say that leisure trips that include children should include educational elements. According to the CRT study, New Orleans African American visitors are comprised of the following groups:

Families with Children under 18 – 32% One person – 31% Two people – 30% Groups of three or more – 40% (which will also include people travelling with children.)

These data parameters will be used in the market analysis for the Louisiana Civil Rights Museum as assumptions for the data analysis and conclusions.

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TASK 5: MARKET ANALYSIS

MARKET CONCLUSIONS

Introduction

BaxStarr Consulting Group’s priority in this market analysis was to identify the factors and indicators that will define how the Louisiana Civil Rights Museum is likely to perform from a market perspective. At this point in time, the forecasts must be somewhat broad because the size, the programming content, the venue’s amenities and location are still not defined in any great detail. The concept is one that should have appeal to many of Louisiana’s residents, to visitors who are interested in how the civil rights aspects of the United States have evolved, and to African Americans who want to know more of their history and to introduce it to their children.

We are in an era when African American related history and culture is becoming more prominent in museums and venues around the country, indicating a growing interest. We must note that there are also a growing number of venues that will compete for a similar audience. This is especially true among the 60 to 70 year old generation that has lived through this phase of history.

The proposed city location for the Louisiana Civil Rights Museum is in New Orleans, one of the more interesting and unique tourist cities in the world, with an array of museums, neighborhoods, special events and other amenities like food and entertainment that compete for the spending and time of 8.3 million annual visitors. Our analysis shows how this proposed museum could perform (attendance, ticket revenue and events) if it is well planned, programmed with relevant and evolving material, and has a location that allows those interested in visiting it to have easy access. Our findings are summarized below.

Attendance

It is important to revisit and summarize the findings of the previous tasks to develop the market forecasts for the proposed Louisiana Civil Rights Museum. The current marketplace demographics establish the foundation for the potential draw for this museum; the performance of other local and comparable museums and attractions – both in New Orleans and around the United States – define how the proposed venue is likely to capture visitation, membership, revenue and events. In the following pages, the BaxStarr Consulting Group has summarized these relevant figures and has drawn initial conclusions. In most instances the museums we evaluated were in prime downtown/central city locations with compatible and complementary amenities. Public transportation and walk-able visitation opportunities are good. At the end of the section, we will estimate how the Louisiana Civil Rights Museum would likely perform at different types of locations in New Orleans.

The first key attendance measure for the proposed museum is how established museums are functioning in New Orleans. This is shown on the following table.

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New Orleans Museum Visitation Summary: 2011

Museum Visitation Totals: Relevant Details of General Admission Actual/Estimates the Audubon Nature + Groups/Combos Institute Venues Total Visitation The Cabildo 26,172 The Presbytere 54,816 Southern Food and Beverage Museum 35,000 New Orleans African American 20,000 Museum National World War II Museum 374,000 Historic New Orleans Collection 35,000 New Orleans Museum 150,000 of Art Audubon Nature Institute Aquarium of the Americas 735,870 224,537 IMAX 212,635 192,752 Zoo 861,937 428,470 Insectarium 192,758 135,947

Note: In the previous section we identified all visitation to the Audubon Nature Institute venues; here we have highlighted the ticketed attendance for comparison, which includes general admission and group packages.

In evaluating these facilities, it is important that we point out that museums with a broad appeal like arts or animals tend to appeal to a wide audience and usually have a greater penetration rate than do special‐interest museums like history, food and others with more narrow audiences. Furthermore, major national attractions that have extensive federal and donor funding (as does the National World War II Museum) tend to have deeper market attraction. This is shown in the above table where The Cabildo, The Presbytere, Southern Food and the Historic New Orleans Collection all have visitation less than 60,000 annually, and New Orleans Museum of Art and World War II Museum have high visitation levels. The Audubon Nature Institute is in a category of its own, with very high visitation numbers, relatively large attendance by people who buy combination tickets and an indicated large local market for the zoo attraction. It is interesting to explore the Audubon Nature Institution’s more detailed visitation. The table above is an aggregate of general admission and ticket packages. But when we break out the general admission, we find that, for example, the IMAX theater has 34,918 in general admission and the Insectarium has 36,721 in general admission. The ticket discounting that occurs with multiple attraction admissions, allows the Audubon Nature Institute to expand its visitation and enhance its total revenues. This type of venue packaging currently has a somewhat limited potential among the other museums which are all under separate control and management.

The experience at museums around the country that have a similar content and/or programming gives an indication of how the Louisiana Civil Rights Museum would perform. The data below is not as precise as that for the New Orleans museums, as we found it difficult to extract the information we were seeking from

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some of the museums’ management. It is important to reiterate the uniqueness of New Orleans tourist market when evaluating museums in other market. There is no other place that matches the unique character of New Orleans, which makes the local venue information more important in defining visitation and pricing.

Table. National Comparable Museums Visitation Summary: 2011

Museum Total Attendance Birmingham Civil Rights Institute: Birmingham 145,000 (A) International Civil Rights Museum: Greensboro 65,000 Museum of Tolerance: Los Angeles 250,000 (A) National Civil Rights Museum: Memphis 186,250 National Underground Railroad Freedom Center: 123,000 (E) Cincinnati

The figures above with the (A) indicate average attendance where 2011 attendance was not provided. The Underground Railroad Freedom Center’s attendance was estimated, based on information available on the internet, as the museum was in the process of being merged with another Cincinnati museum. We believe that the most recent visitation for the Museum of Tolerance – which has a national and international orientation to the Holocaust experience – likely has a lower 2011 attendance as the figure in the table was based on total average attendance since the museum opened. This table shows a wide range of visitation. Birmingham, which is more oriented to the civil rights experience of a locality, offers a strong measure for comparison with the Louisiana Civil Rights Museum, which will focus on the historical experience in the state.

All of these museums have good locations. The Museum of Tolerance is not in downtown Los Angeles, but has good access from the interstate highways in the area. The National Center for Civil and Human Rights, which is now underway in Atlanta, is currently forecasting that first phase attendance levels will be approximately 350,000. While the Atlanta region has a strong tourism market, this forecast for stabilized attendance seems high in the context of the data on the comparable museums and the number of venues with similar content that are coming online that were discussed in the previous material – especially the African American Museum of History and Culture in Washington, D.C., a similar heavily endowed project.

The tourism market in New Orleans offers an excellent opportunity for the Louisiana Civil Rights Museum to tap into. However, the attractions market in New Orleans is extremely competitive if the French Quarter and art and food scenes are considered part of the mix. This implies the need for a quality facility with engaging programming in a convenient, safe location for the museum to perform well. The New Orleans African American Museum is one indicator of how a niche museum that is located away from the main center of activity performs. The National World War II Museum is an example of how well a very large, expanding museum with film, entertainment and food can do in the New Orleans marketplace. Our initial factors indicate the following:

• The Louisiana Civil Rights Museum is likely to perform better than the International Civil Rights Museum in Greensboro, as it will be located in a stronger tourism market, but not as well as the National Civil Rights Museum in Memphis, which is a major icon.

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• In New Orleans, the visitation parameters of the Louisiana Civil Rights Museum are expected to be greater than those at the New Orleans African American Museum and The Presbytere, at 20,000 and approximately 55,000 respectively, which are at the lower end of the visitation spectrum. The Louisiana Civil Rights Museum will have lower visitation than the New Orleans Museum of Art, which, as an arts attraction, has a more diverse audience and attracts 150,000 each year. From the broader perspective, the Louisiana Civil Rights Museum could have a base of about 1% capture of the area’s growing tourism market – based on the capture of other similar museums in New Orleans and some of those around the United States. However, there will be additional visitation above this base. Specifically, this figure will be bumped up by an estimated 2,000 people per day during the Essence Music Festival – which attracts over 400,000 attendees annually for its week of activity. In addition, the festival is likely to create incremental demand for space in the facility for functions and events during the time it runs – around the July 4th weekend each year.

• The Louisiana Civil Rights Museum will also have members who will attend and who will participate in revenue and financial assistance through membership. We believe the museums we have surveyed such as the Southern Food and Beverage Museum and the New Orleans African American Museum support this expectation. The Insectarium – part of the Audubon Nature Institute group of attractions which are singularly extremely successful at their membership drive – has about 30,000 members. It is our opinion, that given the competition throughout the South for memberships in a variety of civil rights related facilities, and the probable appeal to the population of approximately 1 million African Americans in Louisiana (which is also modest income households), that our facility will generate in the range of 20,000 to 30,000 in membership, most of whom will attend the museum at least once annually.

In summary, it would be our forecast that the proposed museum could attract in the range of 120,000 to 130,000 in attendance once visitation has stabilized, which will include members – who will comprise 20% to 30% of the total. The visitation is expected to be about 50% African American, or perhaps a slight majority of African Americans. During the first year or two after the museum opens, what we call the “Honeymoon Period,” there is likely to be about 15% to 20% higher visitation, with a larger majority of African Americans. The Essence Music Festival will be limited by the throughput at the facility during the festival week. We would anticipate the museum will be in the range of 30,000 square feet, which would limit large daily visitation during large events like the Essence Music Festival, but would be large enough for daily throughput the rest of the year. Again, these figures reflect our assumption that a high‐quality, well‐located/safe and well‐marketed venue will be implemented

Pricing

As noted in the previous element of our work, per capita ticket income has a broad price range, as some of the museums like the Historic New Orleans Collection are essentially free, and the iconic National World War II Museum reports to have a per capita income from admissions at $15.60. The other New Orleans museums generally cluster around the $5.50 to $6.00 range, and the Audubon Nature Institute attractions

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are at $7.45. In the United States, comparable civil rights museums fall in the range of about $2.25 to $9.40 per capita in ticket revenue. The proposed museum ticket pricing forecast must take several factors into account:

• It will not be able to match the very high level of the World War II Museum and not likely even the weighted average of the Audubon Nature Institute. It must be consistent with the other niche museums in New Orleans, which are at about $5.50. Further, the proposed Louisiana Civil Rights Museum will be under the range.

• One of the missions of this museum is to focus on the educational aspects of civil rights history in Louisiana. This would include a focus on attracting school teachers and children who are typically given special pricing consideration – sometimes at no charge. This element of visitation will be part of the forecast visitation and thus will impact the per capita pricing. However, a focus on education and students could enhance sponsorships, corporate contributions and public financial support.

It is BaxStarr Consulting Group’s initial estimate that the average per capita ticket revenue will be in the $6.00 to $6.50 range depending, in part, on the selected location of the museum. The better the museum is located vis‐à‐vis the New Orleans tourist traveler, the higher the number will be. The State could consider a special pricing policy for tickets, offering slightly discounted tickets for Louisiana residents with state identification. This policy would affect the final per‐capita level of pricing. Memberships are likely to be in the $50 to $100 range depending on the type of membership.

Retail and Food Revenues

Retail spending data is somewhat clustered, but not broadly available from the museums we interviewed. In New Orleans, one example is the New Orleans Museum of Art, which sells at $3.50 per capita. In the other comparables, the range is $3.25 to $4.55. It would be our estimate that the retail sales at the Louisiana Civil Rights Museum would be in the range of $3.50 to $4.00. Most of the museums we surveyed do not have substantial food offerings – especially those in New Orleans. The National World War II Museum and the New Orleans Museum of Art both have private operators; John Besh and Ralph Brennan. If the Louisiana Civil Rights Museum offers snack‐type food, we would estimate per-capita revenue in the $2.50 to $3.00 range. Competing for quality food would be difficult in New Orleans.

Events and Function Income

New Orleans has a robust convention market, which generates related function space demand. It also has a good market for social events (in the SMERF tradition: social, military, educational, religious, and fraternal). The various museums that track these events have activities that range from about 30 or 40 per year at the smaller facilities. The State’s museums in New Orleans have 50 events that occur in the four previously discussed venues in the French Quarter and which generate revenue at an average of $4,200 per event. One of the spaces is very large and can accommodate about 1,000 people overlooking Jackson Square. The New Orleans Museum of Art has a variety of functions that range from $500 for a boardroom to a large charge for the entire museum. The National World War II Museum leads all the venues with 100 events that bring in an average of $3,000 per event.

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The planned Louisiana Civil Rights Museum will have a somewhat targeted market for its events – primarily African American groups that will be part of existing conventions, Essence Music Festival attendees and regional SMERF groups. A well‐designed facility could enhance the attractiveness for these types of events, given the photo-op priorities of some of the groups. The State Museum’s policy is to allow each group to bring in their own chosen (licensed and insured) caterer for the functions. As a result, revenue would be our forecast that the proposed museum could attract between 40 and 50 events per year, and could charge an average of $2,000 for the various‐sized museum spaces. However, the size and composition of the museum space is yet to be determined.

Seasonality

All the museums report some seasonality in attendance, with the high seasons showing up during the spring and fall. We would expect the proposed museum to follow the trends of convention attendance during the year with one exception. We would expect to see spikes in attendance and events around the Essence Music Festival in July.

Summary

The market element cannot be precisely defined at this point because the programming and concepts, as well as the location, have yet to be finalized. In the Executive Summary, we have made some broad estimates as to how the various locations now being considered would impact visitation.

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TASKS 4 & 7: COMPARABLE INTERPRETIVE INSTITUTIONS AND MUSEUM CASE STUDIES

The following is a summary of comparable institutions and museums to aide in creating the vision for the Louisiana Civil Rights Museum. In compiling this report, Gallagher & Associates researched civil rights institutions, as well as other organizations that tell stories related to civil rights issues through a different lens such as sports or music. The following areas were researched:

• Mission and content • Interpretive approaches and multimedia applications

Louisiana Civil Rights Museum Goals

The following goals have been identified in meetings and subsequent conversations as goals for the Louisiana Civil Rights Museum:

• Promote healing • Incorporate the story of New Orleans cultural diversity • Create a place for ongoing dialogue • Statewide connection • Educational programs • Attractive, multi-purpose rental facilities

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COMPARABLE INSTITUTIONS

The following is the list of comparable institutions researched for this study:

Civil Rights Museums • Birmingham Civil Rights Institute • International Civil Rights Museum • National Center for Civil and Human Rights

African American Topics • National Underground Railroad Freedom Center • Maryland Museum of African American History and Culture • B.B. King Museum and Delta Interpretive Center

Other Institutions • Museum of Tolerance • The National Museum of African American Music • National Baseball Hall of Fame and Museum’s Baseball as America Traveling Exhibit • HistoryMiami • Institute of Emerging Issues Commons and the Hunt Library • Jimmy Carter Library & Museum • McCormick Freedom Museum, Freedom Express Mobile Exhibit • National Museum of Mexican Art

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BIRMINGHAM CIVIL RIGHTS INSTITUTE | BIRMINGHAM, ALABAMA

Location: The location of the institute is important because of its views and proximity to the town square where civil rights protestors were attacked by police dogs and water hoses. There is a view to the church that was bombed by white supremists and killed four little girls. Opened: November 1992 Cost: Unknown Exhibit Size: 29,500 square feet Annual visitation: 140,000 to 150,000 visitors

Mission The Institute sets out to "focus on what happened in the past, to portray it realistically and interestingly, and to understand it in relationship to the present and future developments of human relations in Birmingham, the United States and perhaps the world.”

Alignment with the Louisiana Civil Rights Museum • Has a mission of healing • Seen as a town square/ongoing dialogue • Collecting institution • Education and outreach

Components • Archives • Library

Content • The Institute showcases a walking journey through the "living institution," which displays the lessons of the past as a positive way to chart new directions for the future. The permanent exhibitions are a self-directed journey through Birmingham's contributions to the Civil Rights Movement and human rights struggles. • Personal Stories − Martin Luther King: I Have a Dream speech and his writings from the Birmingham jail − Odessa Woolfolk Gallery (1,800 square feet) . 381 days that sparked a Boycott of the Montgomery Buses based on Rosa Parks . The Woolworth Lunch Counter Sit-In that occurred in Greensboro, North Carolina

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Interpretive Approaches • When the information pertained to events that were an uphill struggle, we walked a path uphill • When the struggle was internal – like the court decision to end segregation of public schools – the tension was created by voices hurling conflicting statements about the issue in a range of vocal modulations • The content was presented as dual timelines of what was happening simultaneously in Birmingham, across the United States and in foreign countries

Multimedia Applications • Introductory Film − 12 minute film which places the new industrial city of Birmingham into the context of the post-war South • Movement Gallery (multimedia exhibits) − Bus Ride to Freedom, freedom rides through the south − Give us the Vote, voting rights abuses − Birmingham: The World is Watching, shows news footage from Birmingham and the cell door from behind which Martin Luther King, Jr. penned “Letters from Birmingham Jail” in 1963 − The March: Immerses visitor in the March on Washington • Oral History Project Exhibit − One of the museum's multimedia exhibits documents Birmingham's role in the civil rights movement through the voices of movement participants

Programs/Ongoing Dialogue/Community Outreach • Speakers Bureau − Reaches an audience of 20,000 people annually in local schools, churches, club meetings and other venues − Provided free of charge to schools and organizations in the greater Birmingham-Metro area • Continued Outreach/Relevance Today − Added exhibit on contemporary human rights worldwide and what justice was served: Were any of the violent offenders in the bombing of the church or killing of civil rights activists ever brought to trial? − Provides contemporary narratives − Story Corps had a recording bus stationed at the Museum, February 2011

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INTERNATIONAL CIVIL RIGHTS CENTER AND MUSEUM | GREENSBORO, NORTH CAROLINA

Location: Located in the historic 1929 F.W. Woolworth building with the historic F.W. Woolworth lunch counter as its centerpiece Opened: February 2010 Cost: $23 Million Exhibit Size: 30,000 square feet Annual Visitation: 65,000 visitors

Mission The International Civil Rights Center and Museum seeks to preserve the legacy and the significance of “…the Greensboro Four...” by demonstrating why, in the current context, such inherently evil, institutionalized oppression has no place in the human race. The International Civil Rights Center and Museum exists as a testimony to courage and the potential of unified people on the right side of history to make change.

Alignment with the Louisiana Civil Rights Museum • Broad national and international connections, promotes social change, inspires modern civil rights struggles

Components • The Museum complex features educational exhibits, a gallery, auditorium, archival center and a proposed Joint Center for the Study of Human Rights

Civil Rights Content • The exhibits tells the story of the Greensboro Four with the historic “white only” F.W. Woolworth lunch counter as its centerpiece, where four courageous students from North Carolina A&T University began their protest on February 1, 1960, launching the sit-in movement. • Personal stories − The Greensboro Four • A Changed World − This exhibit explores the non-violent global conflict as it is reflected in nations around the world

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− The display is dedicated to the continuing journey and evolving non-violent civil rights, equality and peace movements documenting the roles of emerging activist groups and coalitions

Interpretive Approaches • The Lunch Counter Experience: Set against the backdrop of the authentic lunch counter, visitors will view film recreations of the nearly six-month long effort that successfully integrated the F.W. Woolworth’s lunch counter in 1960. • In Memoriam to Lives Lost: A Wall of Remembrance will stand in memoriam to lives lost in the battle for civil rights and to inspire courage in future generations. One hundred men, women and children who paid the ultimate sacrifice in America’s battle for freedom and equality are honored. • And Still I Rise: This exhibit will honor the great athletes and entertainers who with standout performances formed a list of firsts while creating a legacy of excellence for future generations

Multimedia Applications • A Moment that Changed America − Visitors experience a filmed reenactment of the discussion between the Greensboro Four on the night of January 31, 1960, when the freshmen quartet decided to take action

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NATIONAL CENTER FOR CIVIL AND HUMAN RIGHTS | ATLANTA, GEORGIA

Location: Adjacent to the World of Coca-Cola and the Georgia Aquarium and Centennial Park. The site was donated by the city as part of a revitalization plan. Estimated Opening Date: 2013 Estimated Cost: $125 Million Estimated Exhibit Size: 20,197 square feet

Mission To continue the universal search for a secure human existence in a way that inspires vigilance and leadership among future generations.

• Sharing experiences • Telling forgotten stories • Creating communities • Encouraging engagement

Alignment with the Louisiana Civil Rights Museum • A forum for education and the exchange of ideas, provides jobs and internships for individuals and draws people to Atlanta • A catalyst for drawing attention to the variety of historical institutions that exist across Atlanta, including the historically black colleges and universities, Sweet Auburn Historic District, the King Center and Historic Site, and the Carter Center. • A Call to Action − Connecting visitors to relevant civil and human rights issues today

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Components • Theater, temporary gallery, outdoor exhibits, broadcast and event space

Content • The National Center for Civil and Human Rights will tell the story of the African-American struggle for equality, as well as contemporary human rights stories • A narrative theme will provide the foundation for all presentations within the Center: the universal search for a secure human existence • Three major topic areas will be thoroughly explored: − History of civil and human rights − Atlanta and Georgia civil and human rights contributions − The current situation and future of civil and human rights

Interpretive Approaches • Immersive experiences • Catering to younger audience and families • Learning through group interaction • Appeal to different styles of learning and experience

Multimedia Applications • Film/Video − Oral history interviews − Historic footage − Recreated shoots on location − Key events of the movement in Atlanta and Georgia • Computer Interactives − Database content retrieval (looking up names, branch of service, dates, hometown, etc.) − Listening stations with photos and narratives that speak to civil and human rights as well as current issues − Provide an opportunity for visitors to share their own experiences • Audio Soundscapes − Ambient soundscapes − Motion sensor, trigger-activated soundscapes − Portions of a speech or dramatic reading

Programs/Ongoing Dialogue/Community Outreach • Programming will include speakers, conferences and artistic presentations across a wide spectrum of historical and present day issues. The Center will be a resource for education and exploration across all ages. • The “Center Without Walls” • CNN Dialogues: CNN, the James Weldon Johnson Institute for the Study of Race and Difference at Emory University, and the Center have joined together to launch CNN Dialogues, a series of public discussions featuring prominent figures debating the major issues that define our times.

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• Films That Matter: The films are shown on evenings in some of Atlanta’s best outdoor settings and feature mainstream hits with civil and human rights themes. Free and open to the public, the series is designed to bring people together for evenings of entertainment, reflection and community. • International Human Rights Day and the Universal Declaration of Human Rights Celebration: Every December, since 2008 with the 60th anniversary of the Universal Declaration of Human Rights, the Center creates unforgettable events to commemorate human rights progress and highlight issues in need of attention. • Women’s Initiative: This three-year collaborative is designed to enable participating organizations with an opportunity to meet and work together, to provide professional development and sustaining inspiration for those on the front lines, and to create individual and organizational commitment on some of the most pressing issues in our community.

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MUSEUM OF TOLERANCE | LOS ANGELES, CALIFORNIA

Location: Los Angeles, CA with locations in New York City and Jerusalem Opened: 1993 Cost: Unknown Exhibit Size: 100,000 square feet Annual Visitation: 250,000 visitors

Mission The Museum of Tolerance is a human rights laboratory and educational center dedicated to challenging visitors to understand the Holocaust in both historic and contemporary contexts and confront all forms of prejudice and discrimination in our world today.

Alignment with the Louisiana Civil Rights Museum • Education • Action-oriented • Ongoing dialogue • Programming

Components • Action Lab

Content • Visitors take a breathtaking journey through dramatic events in 20th century history. Visitors learn what led people to hate and how ordinary people have changed the world one extraordinary action at a time. The Museum of Tolerance motivates visitors with thrilling exhibits, ongoing events, and programs that bring history to life and draw parallels to current events. • The Museum of Tolerance is the educational arm of the Simon Wiesenthal Center, an internationally renowned human rights organization dedicated to promoting respect and mutual understanding through education, community partnerships and civic engagement. • The content does not add to basic history school textbook information, but it does have a personal spin. • Two riveting parts of the tour involve the reproduction of the gates into a death camp and the dressing hall.

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Interpretive Approaches • The Museum's most talked-about exhibit is "The Holocaust Section" where visitors are divided into groups to take their own place in some of the events of World War II. These experiences are then discussed. • The Museum also features testimonies of Holocaust survivors, often from live volunteers who tell their stories and answer questions several times a day. • People also receive cards with pictures of Jewish children on them and at the end of the museum trip, it is revealed whether the child on the card survived or died in the Holocaust.

Multimedia Applications • One of the primary criticisms of the Museum of Tolerance is that its exhibits use extensive multimedia technology to appeal to and manipulate the emotions of children. − The Museum uses fast-paced skits, dioramas, films, and interactive computer-controlled exhibits in an effort to make an emotional impact on visitors. − For most of the tour, actual historical artifacts are absent; a select few are shown at the end. − Some critics have suggested that this is “hypocritical,” likening the use of emotionally- charged media to the propaganda used by the Nazi Party during the Holocaust.

Programs/Ongoing Dialogue/Community Outreach • Education − The Center’s educational arm, founded in 1993, challenges visitors to confront bigotry and racism and to understand the Holocaust in both historic and contemporary contexts. − Multimedia Learning Center − Lifelong Learning − Teacher Resources − Professional development programs − Tools for Tolerance®, Teaching Steps to Tolerance, Task Force Against Hate, National Institute Against Hate Crimes, Tools for Tolerance for Teens and Bridging the Gap. • "Tolerancenter" − Discusses issues of prejudice in everyday life • Finding Our Families – Finding Ourselves • Various Temporary Exhibits • Arts and Lectures Programs • Youth Programs • Library and Archives • Action Lab

Visitor Reviews • The content doesn't really have anything new to add other than basic history school textbook content, but it did have a personal spin on things (yelp) • Very media intensive; trouble with audio levels being too high/low • Content seems disjointed • Holocaust survivors speak several times a day – very impactful • The two most riveting parts of the tour involve the reproduction of the gates into the death camp, and the dressing hall. Some pretty grisly accounts were narrated here.

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NATIONAL UNDERGROUND RAILROAD FREEDOM CENTER | CINCINNATI, OHIO

Location: Located in downtown Cincinnati, Ohio. The location recognizes the significant role of Cincinnati, where thousands of slaves escaped to freedom by crossing the Ohio River, in the history of the Underground Railroad. The building's “undulating quality” illustrates the fields and the river that escaping slaves crossed to reach freedom. Opened: August 3, 2004 Cost: $110 million Exhibit Size: 130,000 square feet Annual Visitation: 123,000 visitors

Mission The center reveals stories about freedom's heroes, from the era of the Underground Railroad to contemporary times, challenging and inspiring everyone to take courageous steps for freedom today.

Alignment with the Louisiana Civil Rights Museum • Focus on courage, cooperation and perseverance • Distinctive architecture • Immersive exhibits • Promotes social change/action • Center for dialogue

Components • This 3 pod building includes interactive multimedia exhibits, a 325-seat theater, history galleries, public forum rooms, a research area, education resource center and a two story slave pen, a gift shop and café. • The John Parker Library: Houses a collection of multimedia materials about the Underground Railroad and freedom-related issues.

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• The Family Search Center: Visitors can investigate their own roots.

Content • Based on the history of the Underground Railroad. The Center also pays tribute to all efforts to “abolish human enslavement and secure freedom for all people.” • The frame of reference of the Museum is the compelling drama of the Underground Railroad. The underlying theme of the Underground Railroad, which is reinforced with programs, presentations and children-focused activities, is that the path to freedom, historically and in contemporary times, is a constant struggle requiring courage, perseverance and cooperation among people of diverse backgrounds willing to help one another.

Interpretive Approaches • Immersive exhibits − The Slave Pen: The Slave Pen is the Center’s primary artifact. The structure was moved from a farm in Mason County, Kentucky. It was built in the early 1800's. The structure was used as a holding pen by Kentucky slave trader, Capt. John W. Anderson, to temporarily keep enslaved people being moved further south for sale. “The pen is powerful,” says Carl B. Westmoreland, curator and senior adviser to the Museum. It has the feeling of hallowed ground. − From Slavery to Freedom: From Slavery to Freedom portrays three centuries of slavery from its introduction into the Americas, to its abolition at the end of the American Civil War. The exhibit describes who the enslaved were, why they were brought here, how they lived, how they worked, and also who their allies were – and how, ultimately, they became free! A 12 minute companion film provides a dramatic overview of this story. • Personal stories − ESCAPE! Freedom Seekers and the Underground Railroad uses storytelling, role-playing and hands-on activities to present accounts of courage, perseverance and cooperation.

Multimedia Applications • Brothers of the Borderland (Intro Theater): Brothers of the Borderland immerses visitors in a thrilling flight to freedom, showcasing the courage and cooperation of John Parker and Reverend John Rankin as they aid a woman risking all to flee slavery.

Programs/Ongoing Dialogue/Community Outreach • Ongoing dialogue − The Struggle Continues − An exhibit depicting the ongoing challenges confronted by African Americans since the end of slavery, ongoing struggles for freedom in today's world and ways that the Underground Railroad has inspired groups in India, Poland and South Africa. • Action Oriented − Billed as part of a new group of “museums of conscience,” along with the Museum of Tolerance, the United States Holocaust Memorial Museum and the National Civil Rights Museum − Become a Modern Day Abolitionist!

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− http://freedomcenter.org/slavery-today/take-action/

Additional Information

Cincinnati's Underground Railroad Freedom Center museum could close Published: Sunday, December 18, 2011, 12:25 PM Updated: Monday, December 19, 2011, 3:44 PM

CINCINNATI -- The National Underground Railroad Freedom Center in Cincinnati could close in 2012 if it can't find an additional $1.5 million per year to cover future budgets.

The Cincinnati Enquirer reports even after cutting its expenses from $12.5 million in 2004 to $4.6 million a year, the museum is only taking in $2.5 million in annual revenue.

Museum board co-chair John Pepper says more reductions will bring the budget to $4 million, but that's still $1.5 million more than projected revenue.

Though admissions are still above the national museum average, they have been declining since 2005. Center leaders acknowledge their initial business plan was flawed, but say they are now getting it right.

Leaders plan on raising money from renting space, selling naming rights and bringing in a full-scale restaurant.

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MARYLAND AFRICAN AMERICAN HISTORY AND CULTURE | BALTIMORE, MARYLAND

Location: Centrally located on Baltimore’s Inner Harbor, the City of Baltimore donated the land for a 98 year, $1 a-year lease. Opened: November 2004 Cost: $30 Million (design and capital construction costs) Exhibit Size: 11,800 square feet Annual Visitation: 200,000 visitors

Mission To be the premier experience and best resource for information and inspiration about the lives of African American Marylanders. The State of Maryland charged the Museum to serve three primary interests: 1) education; 2) preservation and interpretation; and 3) tourism.

Alignment with the Louisiana Civil Rights Museum • Education • Public programming • Personal stories

Components • Permanent and temporary exhibition space, a two story, 200 seat theater, resource center, museum gift shop, café, two classrooms (one of which will be equipped with distance learning), meeting rooms, an outdoor terrace, reception areas and flexible public program areas.

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Content • The permanent exhibition explores the diversity of the African American experience in Maryland told through individual stories, from historical perspectives to contemporary times. − The inaugural exhibition highlights the experiences of famous and not-so-famous African Americans from Maryland, telling stories that depict the tragedy and triumphs of the African American experience. − The music of the Civil Rights Movement • Personal stories − Frederick Douglass, Billie Holiday, Frances Ellen Watkins Harper, Harriet Tubman, and Benjamin Banneker to name just a few. − It also highlights those contemporary individuals such as Juanita Jackson Mitchell, Esther McCready, Thurgood Marshall and Kweisi Mfume who have pioneered against injustice and for equality.

Interpretive Approaches • Thematic sculptural element • Immersive environments

Multimedia Applications • Oral history recording and listening studio • Video panels • Projection screens • Interactive touch tables • Mini-theater

Programs/Ongoing Dialogue/Community Outreach • Saturday’s Child Series: The Museum provides monthly activities and events for children and families, which include storytelling, art workshops and educational programs. • Annual Juried Art Show: Each year, the museum hosts a High School Juried Art Show in partnership with the Maryland State Education Association that gives youth an opportunity to have their works displayed. Winning artwork is showcased on the Museum’s third floor Arts Wall and in the Journeys exhibit, the Museum’s quarterly news magazine. • Maryland State Department of Education partnership: Reaches more than 860,000 students and 50,000 teachers with state-of-the-art curriculum and teacher training to help close the African American achievement gap and increase understanding among all students. • Distance learning: Enables visitors and students to talk to professors, curators and other experts in African American heritage from around the world in real time.

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B.B. KING MUSEUM AND DELTA INTERPRETIVE CENTER | INDIANOLA, MISSISSIPPI

Location: King’s hometown, located in the heart of the Mississippi Delta, not far from the famous Crossroads at Clarksdale Opened: Mid-September 2008 Cost: $15 Million Exhibit Size: 20,000 square feet

Mission The mission of the B.B. King Museum and Delta Interpretive Center, a 501©(3) non-profit organization, is to empower, unite and heal through music, art and education and share with the world the rich cultural heritage of the Mississippi Delta.

Alignment with the Louisiana Civil Rights Museum • Personal stories • Civil rights story • Public programs • Shares cultural heritage of Mississippi delta region

Components • Museum and gift shop

Content • Artist to Icon, 1960s forward: − This gallery chronicles B.B. King’s development from a musician touring the Chitlin’ Circuit in the South, to the internationally recognized figure he is today. − The exhibit examines how the civil rights movement shaped the music of the time. − Visitors learn the stories of B.B.King’s work with the underprivileged and disadvantaged.

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Interpretive Approaches • Immersive exhibits − The Delta, 1930s: Leaving the theater, visitors enter the first gallery where they are immersed in the sights and sounds of the Delta. They will encounter some of the challenges and heartaches that faced African-Americans in the early 20th century. − Guitar Studio: Within this environment, visitors can actually play instruments in an interactive environment, making their own music and creating a few of their own blue notes.

Multimedia Applications • The Theater: Visitors start their journey through the Mississippi Delta and the life of B.B. King in a theater featuring the very latest in high-definition projection and audio technology. This presentation introduces visitors to the remarkable man known as the King of the Blues.

Programs/Ongoing Dialogue/Community Outreach • Healthy Living Activities • Guitar Workshops • Live performances • Museum available for rental for private functions

Additional Information

Analysis: Officials Explore Mississippi’s Musical Heritage as Next Economic Frontier Published: March 22, 2010, 11:05 AM By: Shelia Byrd, Associated Press, The Examiner

Indeed, one of the best examples of music-driven economic development can be found in Sunflower County, where the B.B. King Museum and Delta Interpretative Center opened in Indianola in fall 2008. Overall tourism was down 7 percent in Mississippi last fiscal year — from $6 billion in 2008 to $5.6 billion. In Sunflower County tourism was up 12.5 percent, increasing by more than $1 million over the same period.

Indianola Mayor Steve Rosenthal credits the museum with helping sales tax revenue maintain steady year- to-date increases nearly every month. He also said three restaurants have opened since the museum started operating in the city with a population of about 11,000. "Sunflower County is the model," said House Tourism Committee Chairwoman Diane Peranich, D-Pass Christian. "You can take that same model to different places and spur the economy, and give prosperity to others."

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NATIONAL MUSEUM OF AFRICAN AMERICAN MUSIC | NASHVILLE, TENNESSEE

Location: Nashville was once home to the Fisk Jubilee Singers, rock icon Jimi Hendrix, and Ray Charles, its musical roots run deep in the heart of African American music history. Even when Motown was approaching its heyday, most Motown records were actually pressed at United Records in Nashville. Estimated Opening Date: TBD Estimated Exhibit Cost: $5.4 million (includes exhibits, audiovisual hardware and software only) Estimated Exhibit Size: 11,000 square feet

Mission The National Museum of African American Music will stand as an international iconic cultural museum dedicated to the vast contributions African Americans have made in music.

The Museum will serve as the global center for understanding the contributions that African Americans have made in creating and impacting over 50 musical genres. The Museum will open eyes, hearts and minds to the imprint of African Americans on music across the globe, all while providing a beautiful setting for people of all ages and cultures – children, families, scholars, and music aficionados – to explore, learn and celebrate.

Alignment with Louisiana Civil Rights Museum • Civil rights story • Global footprint • Education • Connection with community • Distinctive architecture

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Components • 215 seat performance hall, library, reading room, community classrooms, museum shop and boutique café

Content • As the only museum dedicated to all dimensions of African American music, The National Museum of African American Music will showcase the 48 music genres created or impacted by African Americans, honor the legacy and legends of this diverse music and detail the impact this music has on musicians and consumers around the world.

Interpretive Approaches • Personal stories − Individual artists, music industry professionals • Immersive exhibits

Multimedia Applications • Interactive touch tables • Projected video experiences • Personal recording studio pods

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BASEBALL AS AMERICA | TRAVELING EXHIBIT

Location: The traveling exhibit has visited Boston, Dallas, New York, Los Angeles, Chicago, Cincinnati, St. Petersburg, Washington, D.C., St. Louis, Houston, Oakland, Detroit, St. Paul and Cleveland. Opened: March 2002 Cost: $1.5 Million Exhibit Size: 5,000 square feet

Mission "Baseball as America" is a landmark exhibition of treasures from the National Baseball Hall of Fame and Museum in Cooperstown, New York. It includes more than 500 of the Museum's most precious artifacts – dating from baseball's early roots in the 19th century to today.

Alignment with the Louisiana Civil Rights Museum • Civil rights story (through the lens of baseball) • Personal stories • Connection with community

Components • Traveling Exhibit

Content • Ideals and Injustices • Baseball as a microcosm and catalyst for America's changing attitudes about equality and opportunity

Multimedia Applications • Films • Low-tech interactives • Civil rights related artifacts − Jackie Robinson's 1956 Brooklyn Dodgers jersey with a death threat letter from a racist fan and a letter to Jackie from John F. Kennedy

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HISTORYMIAMI | MIAMI, FLORIDA

Location: Downtown Miami, in the MiamiDade Cultural Center Estimated Opening: 2014 Cost: $11 million (exhibits only) Size: 20,740 square feet

Mission HistoryMiami connects people by telling the stories of Miami’s communities, individuals, places and events.

HistoryMiami is the premier cultural institution committed to gathering, organizing, preserving and celebrating the elements that show how Miami has become the unique crossroads of the Americas. Through exhibitions, city tours, education, research, collections and publications, HistoryMiami advocates for helping everyone understand the importance of the past in shaping Miami’s future.

Alignment with the Louisiana Civil Rights Museum • Miami as a crossroads • Education • Programming • Content tells story of Miami and the larger region/state

Components • HistoryMiami consists of several organizational components and entities. HistoryMiami programs include exhibitions, city tours, education, research, collections and publications on the importance of the past in shaping Miami's future. • Museum; archive and research center; education center; the South Florida Folklife Center

Content • Focuses on the history of southeastern Florida, including Greater Miami, the Florida Keys and the Everglades.

Interpretive Approaches • Personal Stories − Miami Stories: Visitors can contribute their own stories and pictures about Miami online.

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Multimedia Applications • Walk-through multi-projection object theater • 3-D interactive map • Projection surfaces inside cases

Programs/Ongoing Dialogue/Community Outreach • Archives and Research Center − Contains historic photos and documents useful to scholars, distant learners, and industry professionals • Education Center − Serves students, teachers and life-long learners through innovative programs that include day and summer camps, school tours, historic site visits and educational presentations • The South Florida Folklife Center − Documents, presents and supports the regions traditional arts and culture • City Tours − Offers extensive walking, biking, coach and boat tours of the region's historic sites and neighborhoods • The Miami Circle − Interprets a prehistoric archaeological site located in downtown Miami

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INSTITUTE OF EMERGING ISSUES COMMONS | RALEIGH, NORTH CAROLINA

Location: The Commons will be located on the campus of North Carolina State University, which is the original home of the Institute of Emerging Issues and the Institute of Emerging Issues Forum. Estimated Opening: 2012 Estimated Cost: $4.3 million (includes exhibit construction, hardware and audiovisual production) Exhibit Size: 5,000 square feet

Mission The Institute of Emerging Issues Commons is a public policy "think-and-do" tank concerned about the future of North Carolina. The Institute of Emerging Issues Commons employs a unique public policy process to convene leaders from business, nonprofit organizations, government and higher education to discuss and develop action steps to combat the challenges to North Carolina's future prosperity. These convenings center around specific programs of work, such as reforming higher education and modernizing North Carolina's system of tax and finance. Programs of work are developed from five general areas of focus: education, healthcare, economic development, energy and the environment, and tax and finance.

Alignment with Louisiana Civil Rights Museum • Extensive programming • Ongoing dialogue • Focus on advancing North Carolina and showcasing relationships • Education

Components • Hunt Library − Virtual browsing, video-conferencing, on-line room scheduling, collaborative projection, whiteboards, video walls, and technology-enabled furniture • Commons

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− A place in the library – and online – where people and communities can identify promising solutions, form networks, develop action plans, and get to work.

Content • Visitors in the Emerging Connections area will use interactive data displays to unearth new relationships to North Carolina’s pressing challenges. Armed with information and inspiration, visitors will move to the Emerging Ideas space to address those challenges. Here, visitors will gather around digital roundtables to debate solutions and identify innovative new approaches. The virtual space will allow anyone, at their desk or on their mobile device, to access the Commons’ rich tools.

Interpretive Approaches • Personal stories − Emerging Voices Inspire visitors with real stories from across North Carolina. Photographs, text and video will tell of North Carolina’s challenges – both past and present. • Pulse installation • Collaboration areas • Call to Action areas

Multimedia Applications • Statistics visualizer − A large interactive map of North Carolina offers rich data displays for each of North Carolina’s 100 counties, showing relationships between issues and amongst the state’s varied geographies • Visitors will gather around digital roundtables to offer their ideas for solving the challenges that matter most to them, improve on the ideas of others, and identify those that should be acted upon. • Online content for computers, tablets and smartphone applications

Programs/Ongoing Dialogue/Community Outreach • Visitors will hear from North Carolina leaders on how this state has been able to overcome obstacles in the past, the actions it took to move forward, and how visitors can do it again. • Visitors hear from real North Carolinians about the challenges that matter most to them, and the steps they have taken to overcome them. • The Commons offers users the opportunity to champion causes, join with others, develop a plan, and execute it. • Community Forums • Emerging Issues Forum • Health Forum: The Institute of Emerging Issues Commons initiated an effort to get communities across the state thinking about strategies to bolster the healthcare workforce. • Discovery Forum: The inaugural forum, brought together colleagues, peers and friends to discover innovative ideas and unsung leaders in North Carolina and its communities through five minute presentations

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• Emerging Issues Prize for Innovation: This year’s the Emerging Issues Prize for Innovation challenges college and high school students to come up with an innovative idea to increase North Carolina’s high school graduation rate. • Financing the Future: The Institute of Emerging Issues Commons’ multi-year program of work that seeks to address the problems underlying our tax system by bringing diverse stakeholders together in order to develop a comprehensive solution for North Carolina. • Generation Z: As the Institute of Emerging Issues Commons researched its latest emerging issue in North Carolina, it was discovered that one of the biggest challenges did not lie with things, but with an entire generation of our people. The opportunities for Generation Z are shrinking and it is the Institute for Emerging Issues Commons’ goal to find new pathways for through which they can prosper • Rural People, Rural Policy: The Rural People, Rural Policy initiative brings together as many as 500 highly connected and remarkably diverse rural organizations, linked together as a “network of networks.” Individually and collectively, they share a common goal of promoting policy changes that improve the well-being of rural children, families and their communities. • Creativity: Creativity is now the world’s most valuable commodity: it can’t be outsourced or automated, and it generates the innovations that lead to new businesses and industries. North Carolina needs more of it. Since May 2009, IEI has been actively involved in its Creativity program of work. Through focus groups, larger community conversations, and the 25th Annual Emerging Issues Forum, IEI has seen firsthand North Carolina’s collective potential to be a creativity economy leader and a model for other states.

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JIMMY CARTER LIBRARY & MUSEUM | ATLANTA, GEORGIA

Location: The Carters selected a central location in Atlanta on a hill overlooking the city and adjacent to an old interstate. Opened: October 1, 1986 Cost: $10 Million (space preparation, exhibits and media) Exhibit Size: 23,900 square feet

Mission The Jimmy Carter Presidential Library provides archival and exhibit materials that educate the public about the presidency of Jimmy Carter, the life of Jimmy Carter, the issues associated with his presidency, and the general operation of the political and governmental system.

Alignment with Louisiana Civil Rights Museum • Ongoing dialogue • Education • Tackling issues of human rights "real time“ • Connecting and partnering with local and regional civil rights institutions • Call to Action

Components • Museum, library, gift shop, Carter Center, restaurant, gardens and walking paths

Content • This is not a library in the usual sense, but it is a research facility and museum. The archives is a repository of approximately 27 million pages of Jimmy Carter's White House material, papers of administration associates, including documents, memoranda,

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correspondence, etc. There are also a half million photographs, and hundreds of hours film, audio and video tape. • The Jimmy Carter Library and Museum includes photographs and historical memorabilia from the Carter presidency (1976 - 1981). An exact replica of the Oval Office and gifts received by the Carters are also featured. A permanent exhibit of significant events occurring during Jimmy Carter's life and political career includes photographs with interpretative text.

Interpretive Approaches • Connected stories • Timelines and maps • Iconic artifacts and collections • Immersive settings

Multimedia Applications • Theater/film • Group Interactive table

Programs/Ongoing Dialogue/Community Outreach • Field trip Sponsorship Program: The Jimmy Carter Library & Museum and the Coca-Cola Foundation have generously established funding for the Carter Library to provide transportation funds for Georgia schools to use when bringing students to its newly- renovated museum for educational activities. • "Real time" connection to the Carter Center and their activities local, national and global, supporting human rights.

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MCCORMICK FREEDOM MUSEUM, FREEDOM EXPRESS | CHICAGO, ILLINOIS

Location: Mobile Exhibit Opened: April 2010 Cost: $220,260 (lighting, audiovisual systems, and fabrication) The cost to purchase the bus was $218,390. Exhibit Size: 400 square feet

Mission The Freedom Express is a 45 foot traveling museum that offers visitors an opportunity to explore their First Amendment freedoms of religion, speech, press, assembly, and petition. Interactive exhibits and thought provoking artifacts illustrate how the First Amendment enables a healthy democracy, where we can freely exchange ideas, consider multiple perspectives, and act on issues that matter to us.

Alignment with the Louisiana Civil Rights Museum • Ongoing dialogue, education • Connection with community • Personal stories • Human Rights content • Other institutions across the country are looking at ways to incorporate the McCormick Freedom Express into their changing exhibits programs

Components • In 2009, the McCormick Freedom Project changed its overall strategy for reaching the public. Believing civic health begins in one’s community. The physical museum on Michigan Avenue was closed and a mobile exhibit was developed. An online presence was also created. • Online components are available, free of charge. The trailer visits schools in Cook, DuPage, Kane, Kendall, Lake, McHenry and Will counties that serve 6th through 12th grade students.

Content • The McCormick Foundation’s goal was to help citizens, especially students, recognize the value of the freedoms enjoyed in the United States, with particular emphasis on First Amendment rights. • The 45 words in the First Amendment guarantee residents of the United States five basic freedoms that form the base for our other freedoms outlined in our founding documents. These freedoms are deeply embedded in our everyday lives – from being able to freely express our opinions, to reading news free from government censorship, and being part of

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clubs and groups that interest us. Our lives would be vastly different without the First Amendment.

Interpretive Approaches • Hands-on Exhibits − Flip panel interactives − Invite visitor to share their own perspective − Visitors act as the judge in five landmark First Amendment cases • Personal stories − Exhibits that tell the stories of several historic individuals who asserted their First Amendment rights to challenge social norms and shape history in the United States

Multimedia Applications • Film • Touch-screen interactives − Hit List Jukebox: Listen to music that has been banned or censored between the 1950s and 2000 “for the common good.” • Media kiosks

Programs/Ongoing Dialogue/Community Outreach • Exhibit guide: For educators and students who are not able to visit the Freedom Express, the exhibit guide can serve as a resource to supplement a wide array of social studies units. • Discovery Trunks: These trunks ship directly to the classroom, where students can explore artifacts and multimedia that illuminate the lives of historic figures featured in the museum. • Freedom in the News: An e-newsletter featuring the latest headlines tied to freedom and the First Amendment, many of which relate to the museum exhibits • The Civics Program: Offers an array of professional development opportunities in the realm of civic education

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NATIONAL MUSEUM OF MEXICAN ART | CHICAGO, ILLINOIS

Location: Chicago, Illinois Opened: March 27, 1987 Cost: unknown Size: unknown

Mission The mission of the museum is to display Mexican culture as one sin fronteras (without borders). The National Museum of Mexican Art is a first-voice organization, dedicated to empowering the local and national Latino community. The Museum insists that the community it represents interpret its own culture.

Alignment with the Louisiana Civil Rights Museum • Neighborhood museum/connected with community • Education programs used in United States and Mexico

Components • Museum and gift shop

Content • One of the premier repositories for Mexican art in the nation. Its permanent collection contains over 7,000 objects, making it one of the largest collections in the nation. • The Museum has a permanent collection featuring prominent works by Mexican artists and artifacts from Mexican history. The permanent exhibit "Mexicanidad: Our Past is Present" explores the history of Mexico in five stages: Pre-Cuauhtémoc Mexico, Colonial Mexico, Mexico from Independence to Revolution, Post-Mexican Revolution to Present-day Mexico and The Mexican Experience in the U.S.

Programs/Ongoing Dialogue/Community Outreach • Education: The Museum’s education programs directly serve more than 60,000 K-12 students annually. Its educational curriculum, developed by Museum staff, is distributed throughout the United States and Mexico • Performing arts/festivals: The NMMA’s performing arts programming, like the Sor Juana Festival and Del Corazón Festival, showcase the richness and diversity of music, dance, and theater by Mexican artists in the U.S. and Mexico.

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• Seasonal events: Every October, the Museum has a Día de los Muertos ("Day of the Dead") exhibit which features altars and Día de los Muertos-related art by Chicago-area and international artists. This exhibit is the nation's largest and is dedicated to an important Mexicana scholar • Yollocalli Youth Museum • Radio station, WRTE 90.5 FM, Radio Arte − Non-profit, community station that serves the Pilsen/Little Village area, but is heard throughout the Chicago metro area − NOTE: Recently the radio station and the building have been put up for sale due to financial issues

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CURRENT TRENDS IN MUSEUM DESIGN | OVERVIEW

National and International Trends in Museums

• The museum industry, worldwide, is developing at the fastest rate in its history • Museums have become a vital part of the drive for economic revitalization and tourism • The museum marketplace finds itself competing with the entertainment, theme park and leisure marketplace

The Definition of “Museum” Is Changing

• We have blurred the lines of what it is to be a museum “experience,” we now include parks, historic sites, memorials, visitors centers and more • Museums can now be about ideas and concepts and not just collections and stories • Multiple sources of information are putting more demands on the potential visitor’s time and commitments • The boundaries of interpretation are wide open, but the demand is higher for truth and relevance • The combination of artifacts and multimedia become the definition of Authenticity

Education and Learning Styles Worldwide Impact on The Museum Industry

• Students around the world today are the most diverse, multi-lingual generation in our history • Schools are gearing up to deal with more choices in styles of learning • Attitudes tend to focus on the relevance of immediacy and the needs of identity and personal connections

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Education and Learning Styles Worldwide Impact on the Museum Industry

• One learning style is no longer acceptable because of the diversity of needs being presented in today’s schools • Enrollment in higher education is at its highest level in history • All of these factors contribute to how we think about developing museums today

What Do We Know About The Visitor Today?

Visitors are asking more from museums in regard to relevance and how they measure success:

• Is this for me? • How does it work? • What is the payoff?

Today’s Museum Industry is No Longer Just About the Permanent Exhibitions

• Public programs have become a critical part of the business model for museums today • Museums are modeling themselves around the needs of their community to include libraries, family centers, theaters, restaurants and even charter schools

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Today’s Museum Industry Is No Longer Just About the Permanent Exhibitions

• The large scale temporary exhibits are becoming a norm to increase attendance and open doors to new audiences • More museums are creating networked relationships to share collections and exhibitions • All of this comes at a cost: larger buildings, larger staff, higher operation costs with no guarantees of success

Technology Has Created New Opportunities and New Challenges

• Technology has created a wide variety of new interpretive tools to enhance the exhibition marketplace • The newest innovations in media, lighting and sound, allow limitless theatrics for setting the stage of time and place • Interactive media can now support a wider variety of learning styles and enhance the depth of content

Technology is Connecting Museums to a Worldwide Audience

• Virtual collecting of stories and information enhance content collections and resources • Museums no longer just count visitors through the door, they count hits on their websites • Collecting and protecting collections has been impacted by the internet worldwide

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How Does This Add Up For The Next Generation?

• Foster relationships with a young audience that will grow into a lifelong relationship • Do not be an island, build relationships with other institutions inside and outside your community and build strategic partners • Do your market research to understand how you can more fully serve your audience • Holding your audience means being unique, having sensory and intellectual stimulation, social interaction, and personal connections

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TECHNOLOGY TRENDS IN MUSEUM DESIGN

Multi-Touch Surfaces

• Multi-touch surface computing allows users to touch, drag and rearrange content with their bare hands (rather than using an external device such as a mouse). • Content is usually displayed horizontally (eg. a table) and can range from creative expressions to factual information. One or multiple users are able to interact with the content on the one display.

Objects on Surface Computing

• Tangible objects surface computing allows users to interact with and navigate content using a physical object (of any design). • One or multiple users can interact with the content and likewise, one or a number of objects can be engaged simultaneously.

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Performance Immersion

• Performance immersion spaces are recreated environments or dioramas that make use of audio, video and lighting effects to animate the setting and make it come alive. • These effects can be choreographed into the scene to create a show-like experience or be activated by sensors triggered by visitors moving around within the scene.

Immersive Virtual Reality

• Content can be created in either “standard image” (2D) or stereoscopic (3D) – for which 3D glasses are required. Interactivity can be integrated into the system – for example using sensor technology, a user’s physical movement activates certain content. • The sense that you are actually inside the projected environment is referred to as being “immersive.”

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Body Tracking

• Body Tracking is technology that recognizes physical movement or action and triggers a visual response. • Tracking a person’s physical movements within a projection space enables the user to interact with, and have direct influence on creating or changing a visual display.

Handheld Interpretation

• Audio interpretation can be delivered directly to visitors’ mobile phones. • This can be in the form of verbal explanations of what visitors are looking at, first person oral histories, or clues to what to look for.

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Applications And Web Presence

The internet provides multiple opportunities for your institution to enhance the museum experience by reaching out to visitors before and after their visit. Examples include:

• Pre-visit: Website offerings that arouse the visitors’ curiosity and prepare them for their visit. • On-Site: During their visit, onsite links to the internet allow visitors to record aspects of their visit into online scrapbooks that they can access at home from the internet. • Post Visit: Visitors can be both kept informed and contribute content they find interesting through museum authored blogs, podcasts, and online content sharing posts.

Social Media

• Social networking within the museum provides opportunities for visitors to share their own stories, thoughts, feelings, and opinions with the museum and other visitors. • In this way museums become a visitor forum for sharing experiences and critical thinking about the topics they address. • Examples include: Live oral or video self-recording. Messages, photographs, and user- generated video clips which become part of the content that visitors can view and interact with. Comment walls that project visitor SMS messaging.

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Holographic Displays

• Holographic Displays present a 3D image in space. Unlike seeing a 3D image on a computer or television screen, it is more like watching an IMAX movie but without the glasses. • Unlimited by physical restraints, the holographic image can be integrated into an environment to emulate reality, or defy reality, such as a person flying, or overlaying a running horse on a horse skeleton.

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TASKS 8 AND 9: SITE SELECTION, COMPLIMENTARY FACILITY USES AND BUILDING AMENITIES

Site Selection Introduction

In Task 9, identified in the original Work Plan proposed for this Louisiana Civil Rights Museum Planning Study, we committed to assessing potential sites in the New Orleans market area based on their ease of access, functional adjacencies, and public appeal. To initiate our work process, the Eskew+Dumez+Ripple/Manning Architects Joint Venture team developed the following strategy:

1. Create a set of site evaluation criteria, with appropriate weighting measures, for use in the universal assessment of sites.

2. Collect two lists of sites for initial consideration: a.) sites offered to the Louisiana Civil Rights Museum to date, b.) sites of New Orleans-specific, historic Civil Rights Movement significance.

3. Overlay these two lists into an identified tiered hospitality market map, placing sites at the tourism core of top priority and those of most difficult access at the lowest priority.

4. Once those sites have been overlaid on that map, use the established criteria on the sites that fall within the Tier 1 market area to create a points-based score for each site.

5. Rank all selected sites per their total score and then recommend those sites most appropriate for further consideration and negotiation by the Louisiana Civil Rights Museum Board of Directors.

Site Selection Criteria

To evaluate the various museum sites up for consideration, we created a site filter based on our team’s experience both creating and visiting successful museums around the country. Of most important consideration, though, was our understanding of the uniqueness of the Civil Rights/African American Heritage museums and the nature of their attendance and membership participation. The criteria we established, listed in order of priority, are as follows:

1. Location on or near an Authentic Historic Civil Rights Site 2. Transportation Access for Leisure Tourist Visitation 3. Transportation Access for Local/Regional Tourist Visitation 4. Existing Building and/or site suitable for Museum Program Content 5. Ease of Site Acquisition (Donation or Low Cost Preferred) 6. Adjacency to Other Cultural Institutions 7. Site’s Ability to Accommodate Future Programmatic Expansion 8. Site’s Ability to Handle Busing and Parking Needs 9. Capacity to Handle Special Events on Site

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10. Community Awareness, Profile, and Visibility of the Site 11. Adjacency to Hospitality Infrastructure & Support Amenities (i.e. restaurants, performance halls, ballrooms, etc.) 12. Catalytic Contribution of the Potential Museum’s Development to the Neighborhood

For our team, the value of locating this museum on an authentic, historic civil rights movement site was of greatest importance. We feel the civil rights story is one in critical need of authenticity as this has been known to be diminished in other cities. The opportunity for Louisiana to stand out among its competitive African American Heritage set really lies in distinguishing itself through placement on a site of national or historic consequence. Should that opportunity not be capitalized on, the next best opportunity for market viability and acceptance will be through its ease of access and location within a critical mass of cultural institutions. Visitors to New Orleans know there are enough cultural assets to entertain the leisure traveler for several days, and if visibility and promotion are strong enough, then these visitors can easily weave additional hours time into a civil rights-based facility even if not of particular personal interest.

Other factors we used in our consideration, such as the “ease of site acquisition” or the “site’s ability to handle future programmatic expansion,” were considerations not necessarily based on easing market acceptance but more on the logistical process of creating, operating, and sustaining the long term attraction of this new museum within our community. We felt it inappropriate to consider sites that we knew were unattainable or sites that would lock the content into a limited footprint without room for growth.

Once all of these factors were agreed upon and proportionately weighted by the team, we worked in a charrette session to evaluate the eight identified sites in a comparative manner. Whenever one site was given a certain number of points for a given criterion we then considered, and reconsidered the others in an iterative manner, one criterion to another, to assure proper comparing and contrasting. The following summaries of evaluations convey our recommended sites for Board consideration in a rank-order based on this process. Given that we know negotiations with current owners may be difficult, or even prohibitive, we recommend the top three preferred sites move forward into concurrent conversations to ensure that the project is not slowed with singular preferences. Once the potential ownership opportunity for each site is identified, they should then be discussed comparatively considering their potential costs for development and payback periods over time.

RECOMMENDED SITES

1. Louisiana Artworks Building (725 Howard Avenue)

The Louisiana Artworks Building, originally the home of the Arts Council of New Orleans, was recently abandoned in the Fall of 2011. Since that time, the facility has laid in the hands of the City of New Orleans to maintain its insurance and security while the debt associated with its construction is sorted out through bankruptcy proceedings. While this might sound like a trepid state, we see this as an appealing quality of the property due to both its complete current in-occupancy as well as it already being held in the public realm (Criteria #5). Our team is also not aware of any current development plans for the site, which again provides a window of opportunity for the Louisiana Civil Rights Museum project.

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The other most attractive quality of this site is its proximity to other cultural institutions (Criteria #6). Located in the warehouse district, and within a three block radius of dominant New Orleans cultural institutions like the National World War II Museum, the Contemporary Art Museum, and the Ogden Museum of Southern Art, the facility boats highly valuable walkable adjacencies to restaurants, hotels, and other hospitality amenities (Criteria #2, #6, and #11). In addition, it provides rapid access to major thoroughfares like I-10, Poydras Street, and St. Charles Avenue for local and regional visitors (Criteria #3).

The building, standing at 5-floors tall and at 115,000 total square feet, would easily contain the proposed museum’s footprint (Criteria #4) and leave plenty of room for expansion (Criteria #7). Its location on Lee Circle also makes it highly visible within the community (Criteria #10). We believe that while the site lacks the important criteria of being an authentic, historic civil rights site, it does hold some moments of civil rights consequence from its time as the home of the Housing Authority of New Orleans and it would still be highly suited to this project.

2. Plessy v. Ferguson Site (Press Street at Royal Street)

Arguably the most widely-known authentic, historic Civil Rights site in the State of Louisiana, the Plessy v. Ferguson site was the location where Homer Plessy, participating in an orchestrated test case, was asked to leave a Caucasian-only rail car to sit in the Blacks-Only car on the same train. Upon his refusal to relocate, he was arrested at this site and the case, arguing assault on his 13th and 14th Amendment Rights, went all the way to the U.S. Supreme Court where the foundation of the doctrine “separate but equal” was established (Criteria #1).

The site, located in a primarily residential area of the city, with several other uses located nearby such as warehousing, education, dining, and others. The area is on an economic rise due to the success of the nearby New Orleans Center for the Creative Arts as well as the impending opening of the riverfront public park, dubbed “Crescent Park,” that will be open to the public this Fall.

Transportation for local and regional visitors is eased by nearby major avenues like St. Claude and Franklin, and the city’s streetcar is planned to expand to Press Street in coming years as well. Current public bus routes also ease sight access, but the system is often not used or easily understood by tourists (Criteria #3).

Capacity to handle the museum is great due to the site’s current lack of development. This also means parking and busing can be eased through smart site design, and the capacity for expansion and/or special events is also high for this same reason (Criteria #4, #7, #8, and #9). The site’s proximity to the New Orleans Center for the Creative Arts also means strong benefits for cultural events and visibility for a diverse geographic audience (Criteria #6 and #10).

The biggest issue at this location will be the parcel configuration. Currently, the site we have designated is a long, narrow parcel held but the New Orleans Center for the Creative Arts Foundation. In order to build a full facility, further lots might need to be purchased and reconfigured to consolidate parcels, potentially making this development site a more expensive option.

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3. Sanlin Building (442 Canal Street)

While not located on an important civil rights site itself, this building is near several prominent civil rights sites such as the well-known Dutch Alley and the counter sit-in at the old Woolworth Building. (Criteria #1).

Most importantly, though, this site is arguably the most underutilized in the heart of the city’s tourism core, making it ripe for development (Criteria #2 and #10). Located very near two of the Audubon Nature Institute’s most well-trafficked properties – the Aquarium of the Americas and the Insectarium – and at the base of Canal Street near the popular core of the Vieux Carré, the riverfront, shopping, and convention districts, the site is ideal for visibility and community access (Criteria #6).

Other obvious strong qualities of this location include the adjacency to hotel and dining options, the proximity to several public transit and parking options, as well as its proximity to special event facilities such as those in the theater district and nearby ballrooms and meeting centers (Criteria #2, #3, and #11).

A significant concern of our planning team, in regard to this site, would be potential development restrictions due to its nature as a relatively historic and protected building. Its well-known façade would make branding of the museum a challenge for the institution, but one that could be overcome with the help from City Council members and district leadership contributions.

Another concern would lie in its cost of acquisition. Given that the property is currently held in the private sector, and its clearly high property value, we would have concerns about the amount of money needed to locate here versus some of the other viable alternatives (Criteria #5). We feel, though, that given the prominence and visibility of this site, it would be worth some initial conversations between the Louisiana Civil Rights Museum Board of Directors and the current property owner, in case there are specific common interests between the two.

4. McDonough 19 (5900 St. Claude Avenue)

This site, one of the first integrated schools in New Orleans in 1960, is of course of significant civil rights prominence in the State of Louisiana (Criteria #1). The site also is of particular appeal due to its assumed ease of acquisition, given its ownership by the Archdiocese of New Orleans and its current lack of occupancy (Criteria #5).

Located in the highly residential 9th Ward, McDonough 19 is not particularly visible and/or accessible to either residents or tourists, though it does reside on the four-lane St. Claude Avenue (Criteria #2, #3, and #10). Adjacencies to hospitality amenities and special event facilities are also lacking in this area, and there are no other consequential cultural institutions in the immediate area (Criteria #6 and #11).

Additional attractive qualities of this school site, though, include its ability to handle future expansion, busing and parking, as well as special events on site if needed (Criteria #7, #8, and #9). As well, should the

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Louisiana Civil Rights Museum develop its site here, the neighborhood would likely see further economic development and property value increases which would be a positive thing for the community (Criteria #12).

5. William Frantz School/St. Mary of the Angels School (5900 St. Claude Avenue / 2224 Congress Street)

We decided to evaluate these two schools, in close proximity, in tandem. St. Mary of the Angels School was offered up as a potential location candidate in partnership with the William Frantz School by the Ruby Bridges Foundation and our team saw great value in this strategy of parallel analysis.

The Frantz School, integrated alongside the McDonough 19 School in 1960, is of equal historic civil rights significance to the former site option. Should St. Mary be easier to acquire, though, given its holding by the Archdiocese of New Orleans, we would see its proximity as playing off of this key significance as well (Criteria #1).

Transportation access to these schools is not particularly strong due to their location imbedded in a residential neighborhood and their distance from street car and bus routes (Criteria #2 and #3). The existing building configurations of both schools are in strong alignment with the needs of this museum program and both sites offer the capacity for special event uses as well (Criteria #4 and #9). Additionally, both schools are seen as easily acquired due to their current holding within the public realm (Criteria #5).

Other areas of concern with the utilization of either of these sites is their overall lack of visibility within the community as well as their lack of important adjacencies to other cultural institutions as well as hospitality amenities, key factors to visitation success for any museum or cultural center (Criteria #9, #11, and #12).

6. Pythian Temple (234 Loyola Avenue)

The Pythian Temple was widely known as the largest development undertaken in early New Orleans history by an African American. Built in 1909, though, the project was completed long before the Louisiana Civil Rights movement really gained its traction (Criteria #1).

While located on Loyola Avenue, a prominent corridor in the city’s urban center, this building is sited in such a way that drivers do not particularly see either façade when passing, a concern when considering the important need for signage on a museum (Criteria #10). Transportation in the area is strong, especially given the soon-to-be-completed streetcar line running along Loyola, and even the walkability from the Vieux Carré, CBD, and Convention Center Districts (Criteria #2 and #3).

While this site is not particularly close to other cultural institutions, it is close to the performing arts district on upper Canal Street and other institutions, like the downtown Audubon Nature Institute facilities and the

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museums of the Warehouse District can easily be accessed via foot or public transportation (Criteria #6). Hospitality amenities are also easily accessed in the area and special event venues are also plentiful in this district (Criteria #11).

Parking and busing at this site would be very difficult due to its surrounding density, and the nature of the building – a 6 floor, small floor plate tower – does not create a spatial arrangement particularly attractive to museum programming (Criteria #4 and #8).

7. Woolworth Building (1301 Canal Street)

We did not assess this site due to its current state of development. The Woolworth building is currently undergoing City approvals by an area developer who plans to remove the existing structure and replace it with 400+ residential units and modest retail facilities – with residential programming not being the most ideal for museum adjacency. We also found that the nature of the site’s historic symbolism is one that is not necessarily specific to the Louisiana Civil Rights movement, but a story that was replicated across the South as sit-ins became a common social act to convey dissent in the attempt to integrate public spaces.

8. Municipal Auditorium (901 North Rampart Street)

As requested by the Louisiana Civil Rights Museum Board of Directors, our planning team is working to additionally consider the City’s Municipal Auditorium as a potential site, located in Louis Armstrong Park off of Rampart Street on the edge of the French Quarter. This site originally fell off our selected analysis list due to our prior knowledge of redevelopment plans that are in fact, no longer underway.

After several attempts to gain further information from the City of New Orleans, the property owner of the site, about the size of the existing building, the current development plans, and the like, we have been unable to gain access to this information yet. We look forward to updating this particular entry before the completion of this full study when we can access to further factual information.

Several Criteria are met by this site, including high visibility, hospitality adjacencies, and community access (Criteria #3, #10, and #11). Transportation access is very strong, and will be even stronger due to the planned expansion of the streetcar line (Criteria #2).

Concerns about this facility would be its location within a public park with specific hours of operation and security monitoring. Additionally, the existing structure is one that would need to remain intact due to its community recognition and somewhat historic nature. While we do not yet have specific square footage information, we assume that joint tenanting would be needed in the building, and a carefully selected mixed-use would be necessary in order to achieve success for the Museum itself.

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Recommendations

While we still await further information on the viability of the Municipal Auditorium site, it is the recommendation of the Eskew+Dumez+Ripple/Manning Architects Joint Venture team, that at this time the Board of Directors immediately move forward with the following:

1. Conversations with the responsible holding parties at City Hall regarding the potential use of the Louisiana Artworks site. This site is clearly high ranking at this point of our effort and quick, initial conversations would be valuable in maintaining this option as a possibility. 2. Research parcels adjacent to the Plessy v. Ferguson site in the Marigny neighborhood to find potential sites available for ready acquisition. Initial conversations with the New Orleans Center for Creative Arts Foundation leadership team might also be valuable in order to gauge their interest in the potential location of the museum at that property. 3. Conversations with the current ownership of the Sanlin Building to get a quick gauge of interest in working with the State on the potential development of this institution at that property. Given this site’s scoring so high in our planning study, and its clearly strong location within the community, we feel that it would be prudent to get a quick read on this property owner’s interest in case there might be potential here.

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Legislative Package | March 21, 2012

Gallagher & Associates Baxstarr Consulting Eskew+Dumez+Ripple/Manning Architects The Louisiana Civil Rights Museum will be the premier cultural institution committed to gathering, organizing, preserving, and celebrating the history of civil rights in the state of Louisiana. Through exhibitions, city tours, education, research, collections, and publications, LCRM advocates for helping everyone understand the importance of civil rights in shaping Louisiana’s future. Louisiana Civil Rights Museum Mission/ Vision 03 Mission/ Vision Statement

The Louisiana Civil Rights Museum’s long-term vision is a world in which everyone lives their fullest potential with freedom, equity and peace. In ongoing contribution towards this vision, the Louisiana Civil Rights Museum will be a living entity that informs honors, educates and inspires the world about civil rights through the Louisiana experience.

To achieve our vision, the mission is to use the Louisiana civil rights experience to heal, educate, celebrate and engage for social justice.

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum Project Overview 04 Project Overview

The Louisina Civil Rights Museum will function as an interpretive center that fosters a deeper understanding of the development, impact and continuing relevance of the Civil Rights Movement in Louisiana.

The program being considered: - Permanent collection - Traveling exhibition space - Meeting/lecture/performance space - Retail component - Restaurant component

This project provides an unprecedented opportunity for us to tell more of the history of Louisiana through the lens of civil rights history and our rich culture—and to bring this story to life in new ways.

Target Audiences - Culturally Diverse Populations - Educators and Students - Tourists: Domestic and International - Families with Young Children - Civil Rights History Buffs

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum O rganizational Overview 05

Our storyline of the continued struggle for civil rights Louisiana is different than begins before the Constitution and continues up to today. It covers a diversity of cultures and home-grown leaders any other venue with a civil who have led the way to freedom and equality for both the state and our nation. This is a story of all struggles — rights museum! race, religion, gender and the story of healing.

800,000 annual visitors for meetings/events Essence Festival brings over 250,000 visitors Visitor spending increased to $5.2 billion in 2010 We’ve got visitors! 47,000 jobs added in 2011 Leisure and convention visitors are steadily increasing

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum Project Overview 06 Project Benefits

Benefits to Creating the Museum

- The LCRM will illuminate the historical, political, social and economic legacies of the movement and seek to engage the Louisiana community today

- This is to be a museum that is inclusive of all stories. Not just a New Orleans museum, it will emphasize the relevance of this history at a local, state, national and international level

- The personal stories and struggles told here should create a source of connection which can bring healing

- The educational goals will strive to upgrade educational services that will enhance funding and student performance

- The LCRM will connect to local universities for content development and for ongoing interaction

- Past, present and future stories from Louisiana’s rich cultural history and diverse ethnic communities will be presented

- Continued dialogue on current events related to civil rights, civil liberties and human rights

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum O rganizational Overview 07 Educational Goals

Goals

LCRM’s educational goals include providing: 1) Immersive experiences as teaching opportunities 2) Accessible programs and services 3) An online component for distance learning

We achieve these goals by:

- Appealing to different experiences and styles of learning

- Enabling learning through group interaction

- Creating inclusive environments and practices

- Offering opportunities for multigenerational engagement

- Letting communities add their stories

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum H istory 08 Louisiana Civil Rights History

The United States Supreme Court Decision in Plessy v. Ferguson Founding of the Southern Christian Leadership Conference: New Orleans Meeting on February 14, 1957 in New Orleans Hoping to strike down segregation laws, the Citizens’ Committee of New Orleans (Comité des Citoyens) recruited Plessy to violate On January 10, 1957, in the afterglow of the Montgomery Bus Boycott Louisiana’s 1890 separate-car law. Plessy was arrested, tried and victory and consultations with Bayard Rustin, Ella Baker, and others, convicted in New Orleans of a violation of one of Louisiana’s racial Dr. King invited some 60 black ministers and leaders to Ebenezer segregation laws; he appealed through Louisiana state courts to Church in Atlanta. Prior to this, however, Bayard Rustin (in New York the U.S. Supreme Court and lost. The resulting “separate-but-equal” City), having conceived the idea of initiating such effort, first sought decision against him had wide consequences for civil rights in the Rev. C. K. Steele to make the call and take the lead role. C. K. Steele United States. The decision legalized state-mandated segregation declined, but told him he would be glad to work right beside him if anywhere in the United States so long as the facilities provided Rustin sought Dr. King in Montgomery, for the role. Their goal was for both blacks and whites were putatively “equal.” The Citizens’ to form an organization to coordinate and support nonviolent direct Committee proclaimed that “We as freemen still believe we were action as a method of desegregating bus systems across the South. In right and our cause is sacred…In defending the cause of liberty, addition to Rustin and Baker, Rev. Fred Shuttlesworth of Birmingham, we met with defeat but not with ignominy.” Their position was Rev. Joseph Lowery of Mobile, Rev. Ralph Abernathy of Montgomery, vindicated when the Supreme Court upheld similar 14th Amendment Rev. C. K. Steele of Tallahassee and Rev. T .J. Jemison of Baton arguments in the 1954 case of Brown v. Board of Education. Rouge all played key roles in this meeting. On February 14, a follow- up meeting was held in New Orleans. Out of these two meetings came a new organization with Dr. King as its president. Initially called Baton Rouge Bus Boycott the “Negro Leaders Conference on Nonviolent Integration,” then In 1953, while minister of a large church in Baton Rouge, Louisiana, “Southern Negro Leaders Conference,” the group eventually chose Rev. Jemison helped lead the first civil rights boycott of bus service. “Southern Christian Leadership Conference” (SCLC) as its name, and The organization of free rides, coordinated by churches, was a model expanded its focus beyond busses to ending all forms of segregation. used later by the Montgomery Bus Boycott in Alabama, which started A small office was established on Auburn Avenue in Atlanta with Ella in 1955. Baker as SCLC’s first — and for a long time, only — staff member.

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum H istory 09 Louisiana Civil Rights History

Deacons for Defense and Justice in Jonesboro, Louisiana Free Southern Theatre and Bogalusa, Louisiana Founded in 1963 by John O’Neal, Doris Derby and Gilbert Moses The Deacons for Defense and Justice is an armed, self-defense African at Tougaloo College in Mississippi, the Free Southern Theater was American civil rights organization in the U.S. Southern states during the designed as a cultural and educational extension of the civil rights 1960s. Historically, the organization practiced self-defense methods in movement in the South. Closely aligned with the Black Arts Movement the face of racist oppression that was carried out by Jim Crow Laws, – and more specifically the Black Theatre Movement – several local and state agencies and the Ku Klux Klan. The Deacons are not members of the Free Southern Theater were figures of national often written about or cited when speaking of the Civil Rights Movement prominence. The Free Southern Theater moved to New Orleans in because the agenda of self-defense, using violence (if necessary), late 1965, hoping to attract financial support from New Orleans’ did not fit the strict non-violence agenda that leaders like Dr. Martin burgeoning African American middle class. However, this move Luther King Jr. preached about the Civil Rights Movement. A group of caused some discord among members who felt that the move to African American men in Jonesboro, Louisiana, led by Earnest “Chilly New Orleans abandoned their initial cause of developing culture Willy” Thomas and Frederick Douglas Kirkpatrick, founded the group within poor rural communities for the rural poor. After Gilbert Moses, in November 1964 to protect civil rights workers, their communities Richard Schechner and John O’Neal left the Free Southern Theater and their families against the violence of the Ku Klux Klan. Most of in 1966, Tom Dent came to New Orleans to lead the troupe and the Deacons were war veterans with combat experience from the had an almost immediate impact on the administrative and artistic Korean War and World War II. The Jonesboro chapter later organized direction of the Free Southern Theater. Under Dent’s leadership and a Deacons chapter in Bogalusa, Louisiana, led by Charles Sims, A. Z. with the help of Val Ferdinand (Kalamu ya Salaam), the Free Southern Young and Robert Hicks. The Jonesboro chapter initiated a regional Theater implemented a community writing and acting workshop, organizing campaign and eventually formed 21 chapters in Louisiana, BLKARTSOUTH. In these workshops, members began to write Mississippi and Alabama. The militant Deacons’ confrontation with the and produce scripts which were incorporated into the company’s Klan in Bogalusa was instrumental in forcing the federal government to repertoire. The Free Southern Theater eventually settled in the intervene on behalf of the black community and enforce the 1964 Civil Desire neighborhood of New Orleans. Rights Act and neutralize the Klan.

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum Potential Sites Louisiana Civil Rights Museum Potential Sites 11 Potential Sites

The location of the museum should capture and contribute to the synergy Visitor Experience Map of tourist traffic currently generated within our identified primary visitor Visitor Experience Zones experience zone in Louisiana, located in the heart of New Orleans. This I. Primary zone offers convenient access to multiple attractions, public transportation II. Secondary Visitor Experience Map Visitor Experience Zones and important historic Civil Rights sites. The final selection of the site will III. Tertiary Quarternary IV. I. Primary take into consideration sites that fall within this primary visitor experience II. Secondary Potential CRM Sites III. Tertiary zone, sites that maximize capital outlay money and sites that have been IV. Quarternary (Offered by Others) offered via third party partnership interest. The core basis of our site Potential CRM Sites recommendations, however, will fall on these primary drivers for this Significant Civil Rights Sites (Offered by Others) museum’s success: Significant Civil Rights Sites Existing Museums Existing Museums - Access to public transportation - Adjacency to historic civil rights sites - Adjacency to other museum facilities - Access to food service facilities - Proximity to special events - Generally positive safety perception

Visitor Experience Map Visitor Experience Zones

I. Primary II. Secondary III. Tertiary IV. Quarternary

Potential CRMLCRM Sites Sites (Offered by Others)

Significant Civil Rights Sites

Existing Museums

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum Potential Sites 12 Louisiana Civil Rights Heritage Trail

One of the guiding principles in the Louisiana Center for Civil Rights & Alexandria Social Justice Five Year Strategic Plan 2011-2016 states that “The museum Anna bontemps Home - 1900 Baton Rouge will focus on enhancing knowledge, understanding, and appreciation of Old State Capital, bus boycott - 1953 the unique civil rights experience of Louisiana. With centuries of diverse Site of Kress Drus Store sit-in - 1960 Mooringsport Port Hudson Battlefield Site - 1863 Bogalusa peoples, history, culture, and language, these experiences will collectively Shreveport Downtown, Deacons of Defense - 1965 produce a remarkably distinctive State heritage.” In 2007, Turry Flucker and Delta Bogalusa to Baton Rouge March (Florida Parishes) - the team from the Louisiana State Museum completed preliminary research 1967 A.Z. Young Home - c. 1950s-1960s on an African American Heritage Trail Project that identified an initial twenty Delta (Madison Parish) sites in ten cities around the state where significant events took place in the Homesite of Madame C.J. Walker, 1870s Lafayette /Opelusas history of Louisiana’s struggle for civil rights. Good Hope Baptist Church Opelousas Massacre Alexandria Lake Charles The extension of the museum to other sites around the state through the Commemoration of Doretha Combre, activist 1960s Heritage Trail system offers opportunities to connect visitors to the culturally La Place St. Charles Parish Slave Revolt of 1812 rich diversity that the state has to offer. This network of historic sites Bogalusa Mooringsport Leadbelly’s home site c. 1910s reminds locals and tourists of the breadth and reach of Louisiana’s struggle Opelousas Baton Rouge New Orleans for civil rights and social justice. It offers local communities an opportunity Homer Plessy’s home - 1880s-90s for increased economic development, and universities, municipalities and Lake Charles Lafayette Railroad Station where Plessy event occurred - 1890 LaPlace William T. Frantz Elementary, Ruby Bridges civic organizations a chance to partner in the enrichment and awareness New Orleans Integration - 1960 Homesites of Louis Armstring, Jelly Roll Morton, King of their local culture. In 2003, Executive Order 13287: ‘Preserve America,’ Oliver, Kid Ory - 1900s-1910s !( stated that “studies have shown that heritage tourists stay longer and Shreveport Louis Christopher Pendleton home-site spend more than other tourists,” and that investment in heritage tourism, commemoration (also in Monroe, his “helps to retain the community’s unique sense of place…promoting birthplace) - 1950s-60s Site of NAACP founding, 1909 (first LA chapter) community pride and enhancing quality of life.” This facility will seek Fannin Street- historic African American business district to expand the heritage story of our state for local sense of pride and education, but most importantly, for the extended knowledge of our State via the tourist focus embedded in the museum experience.

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects

ESKEW+DUMEZ+RIPPLE / MANNING ARCHITECTS LOUISIANA AFRICAN AMERICAN HERITAGE TRAIL SYSTEM Louisiana African American Historical Trail System | Louisiana | March 09, 2012 Louisiana Civil Rights Museum O ral History Project 13

Louisiana Civil Rights Oral History Project

The Louisiana Civil Rights Oral History Project also started in 2004. Seventy oral histories were conducted. Of those oral histories, sixty were conducted in Natchitoches Parish; ten were conducted in New Orleans and Baton Rouge. This is an ongoing project, funded in part by the Louisiana State Museum and the Cane River National Heritage Area. The major goal for this ongoing project is for these oral histories to help inform the permanent exhibitions. They will also be available for researchers either at the site or in our Historical Center at the Old U.S. Mint, located on Esplanade Ave.

Partial List of Interviewees

- Lolis Edward Elie (Civil Rights attorney)

- Ernest L. Jones (Black Panther Civil Rights Attorney)

- Sybil Morial (Wife of Dutch Morial- first African American mayor in New Orleans)

- Dr. Norman Francis (President of Xavier University of Louisiana)

- Johnnie Jones (Baton Rouge, Louisiana civil rights attorney)

- Ben Johnson (Civil Rights activist in Natchitches, Louisiana)

(Clockwise starting from upper left) Ben Johnson (Civil Rights Activist in Natchitoches, Louisiana) Sybil Morial (wife of Dutch Morial- first African American mayor in New Orleans) Lolis Edward Elie (Civil Rights attorney) Member of the Black Panther Party being arrested Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum Size and Cost Assumptions Louisiana Civil Rights Museum S ize and Cost Assumptions 15 S ize and Cost Assumptions

Cost Assumptions Description Cost Per Square Foot Total The goal is to ensure that the scale and scope of the museum is Permanent Exhibits $500.00 $10,000,000.00 appropriate for the mission of a statewide heritage exhibit. Research Changing Exhibits $300.00 $1,500,000.00 was conducted on comparable institutions throughout the country. Size and cost were measured against mission statements and operations. Multiplier (1.55) Prototypes were assembled in a range of sizes and tested against the Total Square Footage $250.00 $9,687,500.00 goals and ambitions of the Louisiana Civil Rights Museum. The results Total Construction Cost $21,187,500.00 suggest a museum of approximately 40,000 square feet at a cost just over $35 million. A museum of this size and scope offers Louisiana the capacity to embody a statewide story with the flexibility to accommodate Site Evaluation $211,875.00 the evolution of its ‘living’ story through changing exhibitions. Programming Fee $211,875.00 Professional Fees $3,178,125.00 The Cost Assumptions are provided for budgetary purposes Professional Exhibit Fee $4,661,250.00 and should be considered order-of-magnitude numbers at this time. Total Professional Services Fee $8,263,125.00

Site Development $1,059,375.00 Property Acquisition $1,000,000.00 FFE $200.00 $4,000,000.00

Subtotal $35,510,000.00

FP&C Cost $355,100.00 Total Capital Outlay Request $35,865,100.00

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana State Museum Status Report Louisiana Civil Rights Museum S tatus and Background 17 Project Status & Background

The Louisiana Civil Rights Musuem is the brainchild of Attorney Sundiata multi-disciplinary firm, served as the primary facilitators of the process. Haley and Louisiana State Senator Diana E. Bajoie (D. New Orleans). Concordia developed the document, incorporated significant input from Haley is the son of Civil Rights activists Richard and Oretha Castle the Planning Taskforce and garnered approval by the Advisory Board in Haley and the nephew of activist Doris Jean Castle Scott. Planning the the fall of 2010. museum began on June 5, 1999, when Louisiana lawmakers gave final approval to a bill that will establish the Louisiana Civil Rights Museum in In 2011, Louisiana Civil Rights Museum Advisory Board sponsored a New Orleans, operated by the Department of Culture, Recreation and national traveling exhibition called RACE: Are We So Different?, a project Tourism. The House passed, 93-0, Senate Bill 336 by Senator Bajoie. of the American Anthropological Association. Attendance at the opening Representative Renee Gill Pratt, (D. New Orleans) handled Bajoie’s bill reception at the Old U.S. Mint over was over 200 people-including on the House floor. In 2004, Senator Bajoie formulated the Louisiana many elected officials and community partners. During the three Civil Rights Musuem Advisory Board. month showing, the number of visitors to the exhibition was 2,000. The Louisiana Civil Rights Museum also engaged in two different statewide In 2008, the Louisiana Civil Rights Musuem Advisory Board was programs to spark dialogue on race and racism in America. Story appointed and Senator Cheryl Gray Evans (D. New Orleans) was Circles was in partnership with Efforts of Grace, Inc./Ashe’ Cultural Arts appointed founding chairperson. During this time museum specialist Center, and took place in New Orleans and Baton Rouge. The second Dr. Deborah L. Mack was engaged as lead consultant, followed by program, Race: A Millennial Generation’s Perspective, took place in the hiring of Founding Project Director Turry M. Flucker. New Orleans, Lafayette and Grambling. Participating colleges and universities included Dillard Universities, Delgado Community College, In 2009, People, Place and Design Research, a Massachusetts- Xavier University of Louisiana, Loyola University, Tulane University, based firm conducted a front end audience report that included input University of New Orleans, University of Louisiana at Lafayette, Southern from statewide focus groups. Louisiana Community College, Mc Neese University, Grambling State University, University of Louisiana at Monroe, Louisiana Tech University In 2010 a Planning Taskforce was created from the Advisory Board and Louisiana State University at Shreveport. membership, State Museum staff members and several statewide contributors to complete the strategic planning process culminating On December 13, 2011, Gallagher and Associates, Baxstarr Consulting in this document. The process involved preliminary research, strategic and Eskwe+Dumez+Ripple/Manning Architects kicked off a feasibility/ planning workshops, key stakeholder interviews and site visits. viability study that will help, among other things, recommend the best Consultants from Concordia LLC, a New Orleans-based, site for the Louisiana Civil Rights Musuem.

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects Louisiana Civil Rights Museum A dvisory Board Members 18

Advisory Board Members

Senator Cheryl Gray Evans, Founding Chairperson Brenda Brent Williams, Interim Chairperson

Mrs. Madlyn B. Bagneris Ms. Lynette Colin Ms. Priscilla Edwards Dr. Romanus Ejiaga Attorney Ernest L. Jones Representative Walt Leger, III Deputy Mayor Judy Reese Morse Mayor Thomas Nelson Senator Karen Carter Peterson Mr. Nolan Rollins Mrs. Loyce Pierce Wright

Senator Diana E. Bajoie, Louisiana Civil Rights Advisory Board Founder

Mr. Turry M. Flucker, Founding Project Director

Gallagher & Associates | Baxstarr Consulting | Eskew+Dumez+Ripple/Manning Architects