Staff opens hearing and gives procedural instructions
Council staff calls the meeting to order, asks attendees to silence devices, explains sign-up for testimony, and tells the Chair they are ready to begin.
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New York City Council
Oversight – What’s Next for CreateNYC?
Read summaries and jump into the video at the segment start.
Council staff calls the meeting to order, asks attendees to silence devices, explains sign-up for testimony, and tells the Chair they are ready to begin.
Deputy Speaker Nantasha Williams introduces herself as Chair, welcomes attendees to the oversight hearing on 'What's Next for CreateNYC,' and notes legislation will also be heard.
Chair lists proposed resolutions: Res. 163-A for Shangri-Las Week, Res. 164 for Kwanzaa as a state holiday, Res. 625-A for Reggaeton Heritage Month, and Res. 186 for Albanian Independence Day.
Chair describes Brooklyn Public Library's October 6 event on artistic freedom, praises artist Christopher Mays and his stained-glass works and tapestries featuring banned book characters, and notes his father Walter Dean Myers.
Farah Louis explains her personal connection to reggaeton as a dancer, traces its Afro-Caribbean and Panamanian roots, and urges support for designating October as Reggaeton Heritage Month in NYC.
Chair Williams celebrates the Shangri-Las as a Queens girl group with six top 40 hits, then explains Kwanzaa's origins, seven principles, and her resolution to make it a public holiday in New York.
Chair asks whether CreateNYC lived up to its promise of cultural equity, noting artists struggle with affordability, small organizations fight to stay open, and communities face barriers to funding and resources.
Chair acknowledges committee members and staff, reminds public to fill out appearance cards, limits testimony to two minutes and questions to five minutes, and asks witnesses to state their names.
Chair introduces Mark Stern and Susan Seifert from the University of Pennsylvania's Social Impact of the Arts Project, waives time limits due to special testimony, and asks them to begin.
Mark Stern introduces himself and Susan Seifert, explains SIAP's founding in 1994, and argues cultural opportunities are part of community well-being, especially in lower-income neighborhoods.
Stern describes a 'new geography of exclusion,' shows a steep relationship between economic well-being and cultural assets, and defines market, market-adjacent, and civic clusters like Brownsville and Flushing.
Stern says DCLA funding shifts were swamped by inequality, describes four community well-being clusters, and finds cultural assets in lower-income neighborhoods correlate with fewer strokes, fewer low-weight births, and higher test scores.
Stern reviews DCLA's CIG and CDF changes, recommends building from strength in civic clusters, and cites Bronx Council on the Arts, Queens Museum, and Kensington Cultural Council as examples of community capacity building.
Chair Williams asks what New York can learn from other cities, noting New York's size; Mark Stern contrasts vertical networks in New York with horizontal neighborhood networks in Philadelphia.
Chair asks for more detail on civic clusters; Stern says they are lower-income neighborhoods with more cultural assets than expected, and Seifert explains the 'build from strength' model to support nearby vulnerable neighborhoods.
Chair asks how the model would work in her district; Stern suggests funding points of strength to partner with more vulnerable areas, and Seifert urges a broad definition of nonprofit cultural providers and starting with a few places.
Chair Williams thanks Stern and Seifert, says she loves Philadelphia, and transitions to calling the administration to the witness table.
Chair calls DCLA to the witness table, and committee counsel administers the affirmation to Commissioner Diya Vij and Derek Wang.
Commissioner Diya Vij thanks SIAP, introduces herself, and says she will reflect on what worked, what didn't, and what DCLA is doing now to address CreateNYC's bolder ideas.
Vij notes COVID-19 and federal attacks on DEI changed the landscape, explains the 2019 Action Plan condensed 180 pages into five objectives, and begins with objective one on equitable funding.
Vij reports FY26 CDF distributed $74.3 million to 1,171 groups, up from $40 million to 950 groups in 2017, and describes multi-year support, Disability Forward Fund, Language Access Fund, Culture Pass, and IDNYC.
Vij credits former Commissioner Tom Finkelpearl, says CIG members adopted DEI plans, describes audits and pipeline programs, and notes CUNY Cultural Corps has placed over 1,100 students in paid internships.
Vij describes immigration summit, commissioner office hours, Office of Nightlife, and Create in Place, which has supported over 100 creative businesses and helped Red Hook fire recovery and South of Prospect rezoning.
Vij discusses AREA program's 165 units, 50,000 square feet at Brooklyn Army Terminal, and cultural space in developments like Brownsville Arts Center and People's Theater Project, but says affordability remains the most pressing challenge.
Vij says the Arts Office is developing pre-K to 12 arts pathways, increased funding from $516 million in FY24 to $563 million in FY25, and DCLA supports arts education through CDF grantees, CASA, and Materials for the Arts.
Vij says Mayor Mamdani and she doubled artist grants from $5,000 to up to $10,000, launched TDF Ticket for Teens, free Met membership for SNAP recipients, and Met Opera for All, and highlights FY27 budget of $323 million.
Vij says the plan was a valiant attempt at public engagement, DCLA has engaged over 1,000 artists and cultural workers, and will synthesize listening session findings and work with Council on district sessions.
Chair Williams thanks Commissioner Vij and gives the floor to Council Member Althea Stevens.
Stevens says she has 55 schools but only 15 CASA slots, argues arts is not a priority in many schools, and questions the pre-K to 12 arts pathway before turning to workforce diversity.
Vij says the 2022 workforce survey was not completed due to COVID and federal climate concerns, but the racial equity plan commits to addressing the mid-career to leadership pipeline and board governance.
Stevens asks how many of the 1,100 CUNY Cultural Corps participants reached leadership; Vij says DCLA does not have that data, and Stevens insists the program should be tracked beyond anecdotes.
Stevens asks what evidence shows diversity initiatives change hiring and retention; Vij says all 34 CIGs submitted equity plans and final reports, but organizations set their own goals, and board governance remains a struggle.
Stevens asks about the action plan's living wage strategy; Vij admits it had no strategies and little impact, says wages have not improved, and Stevens urges the city to move from diagnosing problems to creating policy.
Louis asks how many affordable cultural spaces CreateNYC helped create or preserve since 2017; Vij cites 165 artist workspace units but says she does not know how many were lost, and says an all-of-government plan is coming soon.
Chair asks for the three most consequential achievements since 2017; Vij cites deep public engagement, funding reforms targeting under-resourced neighborhoods, and DEI work becoming core to DCLA.
Vij says living wages for cultural workers and artists remain unfulfilled, arts education needs more work with DOE, and DCLA alone cannot change conditions without an all-of-government approach.
Vij says the listening tour has reached all five boroughs and 15 sessions, with affordable space as the biggest issue, and says DCLA is synthesizing findings but has not determined the reporting format.
Chair asks who tracks implementation; Derek Wang says the plan is updated biannually and a team effort, but Chair notes CreateNYC is not his only responsibility and asks if staff are assigned specifically.
Chair says reports were hard to find online and asks if 2023 and 2025 reports were submitted to mayor and speaker; Vij promises to send them, and Wang says FY23-FY26 data was uploaded over the weekend.
Chair asks who serves on the commission and when it last met; Vij says DCLA is appointing new members and current members are still in their seats, but no new appointments since administration change.
Chair asks how DCLA identifies underserved communities; Vij says the racial equity plan will establish baseline metrics, disability community needs more attention, and disparities have widened even as some neighborhoods became civic clusters.
Chair asks if the plan changes who receives funding; Vij says it makes process commitments, including general operating support, multi-year support, streamlined applications, multilingual outreach, and deeper relationships with borough arts councils.
Vij cites IDNYC's 805,000 memberships and Culture Pass's 560,000 reservations as access gains, and says the Disability Forward Fund has provided about 600 grants totaling over $6 million.
Chair asks if the charter-mandated interagency coordination plan exists; Vij points to Create in Place and a monthly interagency task force, but Chair says the plan sounds more comprehensive and Vij concedes it is fair to say DCLA does not have it.
Chair says she had to force arts into her neighborhood plan; Vij agrees and cites Gowanus affordable artist studios and South of Prospect rezoning as models for early cultural inclusion.
Chair asks what standard measures high-quality arts education; Vij says that is a DOE question but DCLA meets with the chancellor and DOE Arts frequently, and Chair notes the chancellor did not answer a reporter's question on arts commitments.
Chair asks what funding, institutional, or priority changes DCLA will propose; Vij says DCLA is gathering feedback and will share measurable priorities, but is not sure it will be a full-blown plan.
Chair relays Council Member Marte's question about why the Elizabeth Jennings Graham monument is planned for Grand Central rather than Lower Manhattan; Vij says the public art team is looking into new Lower Manhattan locations.
Chair thanks Commissioner Vij, notes Council Member Maloney has no questions, and calls Arden Armbruster from the Independent Budget Office as an expert witness.
Arden Armbruster introduces herself as IBO lead budget and policy analyst, explains IBO's mission, and says the report series examines CDF grantees to inform CreateNYC's future.
Armbruster says half of CDF grantees have budgets under $500,000 and two or fewer full-time employees, two-thirds serve historically underserved communities, and the smallest grantees receive half their revenue from government.
Armbruster says 60% of grantees are based in Manhattan and 63% of funding goes to them, 74% of grantees planned programs in Manhattan, and planned CDF programs are not equitably distributed across boroughs.
Armbruster says CDF grantees are responsive to underserved communities but small and government-reliant, so city policies have outsized impact; IBO will publish more reports and host a webinar on Thursday.
Chair asks how IBO's analysis differs from Local Law 15; Armbruster says Local Law 15 covers CDF, CIG, and other DCLA funding, while IBO's report is a statistical analysis of CDF grantees and trends.
Armbruster emphasizes EINs in open data for targeted planning, geographic distribution of grantees and programs, and the limited capacity of small organizations that serve underserved communities.
Chair thanks Armbruster, calls the next panel, reminds the public of decorum and two-minute testimony limit, and says written testimony can be submitted to the Sergeant at Arms.
Gregorio Mayers, founder of Panama 507 Roundtable, shares his personal story of Panamanian music, traces reggaeton's Afro-Caribbean roots, and urges passage of Resolution 625 while recommending inclusion of Reggae Sam.
Mauricio Delfin of the Culture and Arts Policy Institute argues CreateNYC conflated an agency plan with a sector-wide agenda, and proposes a DCLA capacity-building plan plus a shared cultural policy agenda with shared indicators and reporting.
Gonzalo Casals says CreateNYC rested on an agency with 0.25% of the city budget, and proposes embedding culture in health, education, and social services, citing Massachusetts cultural prescriptions and the public artists in residence program.
Chair asks about the difference; Delfin says the capacity plan addresses DCLA's ability to assess and report, while the shared agenda coordinates many actors and requires standing spaces for collaboration and accountability.
Delfin says Council's neighborhood-level mandates allow more nuanced resourcing of communities, and a shared agenda would break silos by coordinating executive and legislative roles; Casals adds that oversight can be built into the plan.
Casals says the public artist in residence program is a good first step but remains discrete projects; as policy it would embed artists across agencies, bring new funding, and treat culture as cross-sector infrastructure.
Casals says government's convening power carries leadership responsibility, and the sector needs a clear agenda; Delfin adds that any next step must rest on institutional capacity to assess and deliver.
Lucy Sexton of New Yorkers for Culture and Arts calls for revisiting the Disability Forward Fund, creating a permanent cultural advisory group, funding arts education, supporting immigrant and queer artists, and addressing healthcare and affordable workspace.
Chair Williams calls Lisa Gold, DJ McDonald, Judith Ensel, Kimberly Olson, and Cindy Vanden Bosch to testify.
Judith Ensel, executive director of Bronx Arts Ensemble, urges the next CreateNYC to be a true three-to-five-year strategic plan with budget information and for arts and culture funding to reach 1% of the NYC budget.
Lisa Gold of Asian American Arts Alliance says there are no AAPI-led CIGs, only 5% of CDF grantees are AAPI-led despite 18% of the population, and Manhattan's Chinatown lacks a black box theater or public performance space.
Kimberly Olsen of NYC Arts and Education Roundtable says Strategy 5 lacks a shared definition of high-quality arts education, 69% of eighth graders fail state arts requirements, and urges closing the certified arts teacher gap and modernizing CASA funding.
DJ McDonald describes the Dance Parade and the Cultural Accessibility NYC project, which is researching disability justice and cultural access, and calls for disability equity to be a first consideration in cultural planning.
Cindy VandenBosch, lead consultant for Cultural Accessibility NYC, describes surveys and focus groups on accessibility infrastructure, asks for DCLA data, and questions how Disability Forward Fund money was distributed.
Chair Williams says she is learning about the accessibility project, offers to help convene agencies and a roundtable, suggests reaching out to Disability Committee Chair Shahana Hanif, and promises follow-up questions to DCLA on the Disability Forward Fund.
Chair calls Malik Jones, Rosalyn Barber, Christopher, and Martha Nabors, gives a shout-out to Staten Island and Snug Harbor, and briefly helps locate a lost raincoat before the panel begins.
Chris Gorman of the Museum of the City of New York, speaking for CIG chair Stephanie Hill Wilchfort, describes CIG's 39 institutions, 4 million free visits, 15,700 employees, and educational partnerships, and offers CIG as a partner for future plans.
Martha Nabors of Snug Harbor Cultural Center says CreateNYC inspired diversity and accessibility changes, but cultural workers earn 23% less than national average, artists are leaving NYC, and the city must act to stem the creative brain drain.
Malik Jones, chief people officer at Lincoln Center, describes free and choose-what-you-pay performances reaching nearly 3 million people, a new performance park opening in 2028, and calls for the next plan to operationalize culture as essential infrastructure.
Rosalind Barbour of the Public Theater says CreateNYC helped focus free mobile unit performances in low-income communities like Brownsville and St. Mary's Park, and that the required DEI plan helped the theater center anti-racism.
Chair Williams thanks the panel, says it is nice to hear CIG institutions embraced the plan, and recalls that some cultural institutions were initially anxious when CreateNYC came out.
Chair calls Randy Berry, Esther Robinson, and Daniel Arnow to testify.
Daniel Arnow of the Entertainment Community Fund and Housing Development Corporation says the resident artist population is declining, and calls for city-led developments to include cultural facilities, affordable artist housing, and an artist preference in affordable housing.
Randi Berry of Indie Space urges the city to integrate cultural assets into planning, create pathways to permanent affordable cultural space through land trusts and acquisition funds, incentivize cultural space in new development, and streamline capital processes.
Esther Robinson of ArtBuilt describes 50,000 square feet of affordable workspace at Brooklyn Army Terminal, calls for cultural production to be an economic priority, and urges 20-year leases for publicly owned cultural production space.
Chair Williams says she has faced pushback on artist preference housing due to human rights law and demographic concerns, asks for legal workarounds, and notes she also tried to prioritize portable insurance for artists.
Chair mentions reading about cultural land trusts in Canada; Berry says she just returned from a Helsinki conference on creative land trusts with 11 countries and 26 cities, and notes successful models often start with city-donated adaptive reuse and long leases.
Chair calls Deeksha Gaur, Adam Odsess-Rubin, Kaneza Schaal, and Lindsey Buller Maliekel, and works through pronunciation of their names.
Deeksha Gaur, executive director of TDF, says TDF served 1.3 million audience members, partnered on Tickets for Teens giving 2,000 free tickets, and urges the next plan to prioritize affordability and access for audiences.
Adam Odsess-Rubin of National Queer Theater says CDF support helps them survive federal anti-trans and anti-DEI attacks, and recommends $5 million baseline for queer arts, after-school LGBTQ programming, trans artist microgrants, and continued small-organization funding.
Kaneza Schaal, a Thai queer immigrant theater artist, describes how National Queer Theater gave her artistic freedom and community, and urges city arts funding to reach the smallest organizations and most vulnerable artists.
Lindsey Buller Maliekel of New 42 describes a NYCHA partnership giving 2,000 free tickets that sell out quickly, says loss of health insurance drives teaching artists out, and urges continued support for arts education and portable benefits.
Chair Williams thanks the panel for their testimony and says she appreciates the spirited group compared to drier hearings.
Chair calls Eva Davis and Sherelle Dixon, mentions Scope of Work as a young artists and gig workers group, and notes she missed their representative.
Sherelle Dixon of Pan African Solutions Consulting describes nonprofit capacity constraints, local and global cultural disconnect, and cultural preservation gaps, and asks for a dedicated funding stream for for-profit MWBE firms to partner with CBOs.
Eva Mayhabal Davis of Latinx Arts Consortium says language access funding is unclear, displacement threatens Latinx cultural practices, and urges community ownership of cultural spaces and co-designed portable health benefits for artists.
Jerry Mikorenda, author of a book on Elizabeth Jennings Graham, says She Built NYC selected women for statues in 2018 but no progress has been made on four designs, and criticizes DCLA's lack of transparency and delayed FOIL response.
Chair Williams says the Billie Holiday statue in her district has selected an artist but is delayed, agrees the program has stalled, and promises to follow up with the commissioner and have staff contact Mikorenda.
Chair Williams asks if anyone on Zoom wishes to testify, reads instructions for remote witnesses, and calls Beth followed by Amilcar.
Beth Prevor of Hands-On Sign Interpretive Performances says deaf theatergoers still face barriers, the Disability Forward Fund lacks review and accountability, and asks for access reporting from city-funded organizations and real inclusion in decision-making.
Chair Williams asks Beth Prevor to repeat her organization; Prevor says Hands-On Sign Interpretive Performances, which provides sign language interpreted theater in the city.
Amilcar Priestley of the Afro-Latino Project and Afro-Latino Festival says reggaeton began with Afro-Caribbean communities in Panama translating Jamaican reggae into Spanish, traveled through Brooklyn, and was fused by Puerto Rican artists into a global genre.
Chair Williams notes no other witnesses wish to testify, says written testimony can be submitted within 72 hours, and adjourns the hearing.