 Okay, let's go ahead and get started. Hi, everyone. Welcome back to the forum webinar series. I'm Kendra Parzen, field officer with the National Trust for Historic Preservation, and I'm one of the staff supporting our annual America's 11 Most Endangered Historic Places program. In case you don't know, Preservation Leadership Forum is a professional membership program at the National Trust for Historic Preservation. This webinar series is made possible by members of Preservation Leadership Forum, and we sincerely thank those of you who are with us today. Today's webinar focuses on America's 11 Most Endangered Historic Places and how it can be a powerful tool for raising the profile of included places, helping them attract attention, funding, and support. Today, we were here directly from advocates for three places included in the 2022 list, Minnadoca National Historic Site in Jerome, Idaho, the Chicano-Chicano-Chicanx murals of Colorado, and Palmer Memorial Institute in Sedalia, North Carolina. Before we begin, here are a few logistical notes. We will take questions from the audience during the webinar. Please send questions via the Q&A function directly to our panelists. You're welcome to submit at any point during the webinar, but we will be waiting until the Q&A section at the end of the webinar to answer your questions. You're also encouraged to communicate to our participants through the chat function. Also, please note that closed captioning is enabled for this webinar. Following the program, we will send out a recording of today's webinar directly to the email that you use to register. All forum webinars are also archived in our forum webinar library. Next slide, please. Before we hear from our speakers, let's take off our webinar today with a bit of background on the 11 Most Endangered Historic Places list. America's 11 Most Endangered Historic Places is the National Trust's largest annual public awareness campaign. Since the program was established 35 years ago, 11 Most Endangered has helped to save a diverse range of places. That helped tell the American story, such as Angel Island Immigration Station, Civil Rights Windmark, Little Rock Central High School, and Native American cultural landscapes like Bears Ears. Placement on the 11 Most Endangered list can be a powerful tool for raising the public profile of a threatened place. The media spotlight can help amplify local advocacy efforts to save historic places, creating pressure for a change of course. Listing can also help attract new stakeholders and supporters to the cause of saving a threatened place. Next slide, please. As an example of the list of the impact that an 11 Most Endangered List can have, we are glad to be able to share a new success story for a site that was listed in 2021. Constructed in 1862 by the Trujillo family and today the oldest known building in Riverside, California, Trujillo, Adobe tells the story of migration and settlement in inland Southern California. It just received 10.4 million from the state of California to preserve the structure and develop a museum on site. Congratulations to the Spanish Town Heritage Foundation and all of those who have been advocating for the Trujillo, Adobe. Next slide. So how do we find the places that we include on the 11 Most Endangered List? We have an annual call for nominations from the public. As part of the National Trust's commitment to telling the full American story, we particularly encourage nominations that illuminate a unique aspect of American history, or one that has been historically underrepresented in what we collectively preserve and interpret and that expand our understanding of our shared national heritage. In 2022, our nomination process is now two parts. Nominators submit a letter of intent or LOI in early fall, and a select group is then invited to submit a full nomination. We will be opening our call for LOIs for the 2023 list in the fall, so we encourage you to keep an eye on our website for the opportunity to nominate a place. Next slide. And here you see the places that we included on this year's list of America's 11 Most Endangered Historic Places, which we publicly announced on May 4th of this year. As you can see, the places are geographically diverse and represent a wide range of types of sites and types of threats. We also identified several cross-cutting themes, including community angers, sites of injustice and activism, historic places of sacred ground, places of creative expression, and places threatened by climate change. Many of the sites listed fall under more than one of these themes. Because we accept nominations from the public, the list gives us a window into the places that matter to local communities and issues arising across the preservation movement. The 2022 list represents a national trust commitment to our national impact agenda, including the goals of growing a more inclusive movement and promoting climate resilience. You can learn more about the national impact agenda on our website, savingplaces.org. Next slide. As I mentioned earlier, today we'll be hearing from advocates for three of our 2022 listed places, which are highlighted here. Palmer Memorial Institute, Minnagoka National Historic Site, and the Chicano-Chicana-Chiconix murals in Colorado. We are so thrilled to have our speakers with us today to share the stories of their endangered places with you. I'll now go ahead and introduce our three speakers. Next slide. Joining us today will be Tanisha Anthony, site manager for the Charlotte Hawkins Brown Museum. Tanisha earned a VA in liberal studies from North Carolina Agricultural and Technical State University and an MA in Public History from Southern New Hampshire University. She was one of few selected by the Smithsonian National Museum of African-American History and Culture for the Robert Frederick Smith Internship Program, where she was placed at Historic Staggville. Tanisha worked at the International Civil Rights Center and Museum in Greensboro at the tour guide and volunteered at the Greensboro History Museum assisting with collections and registrar work. Before joining the Charlotte Hawkins Brown Museum, Tanisha served for eight years as an educator with Gilford County Schools. Tanisha is also a proud member of Zeta Phi Beta Sorority Incorporated. Next slide. Our next speaker will be Robin Achilles, the executive director for Friends of Minidoka, a nonprofit philanthropic partner of Minidoka National Historic Site, a unit of the National Park Service. Over 13,000 Japanese Americans from Alaska, Oregon, and Washington were unconstitutionally incarcerated at the Historic Minidoka War Relocation Center during World War II. Robin's parents, grandparents, aunts, and uncles were incarcerated at Heart Mountain, Wyoming, and War Arkansas War Relocation Centers. Prior to her role with Friends of Minidoka, Robin worked in philanthropy at the community library in Ketchum, Idaho, and community-based program planning and management with the San Francisco Department of Public Health and Public Health Seattle and Tain County. Next slide. Finally, we will hear from Lucha Martinez-Aluna, executive director of the Chicano-Chicana-Chicanx Murals of Colorado project. Lucha is an archeologist specializing in Mesoamerica and contemporary archeology. She has worked on numerous archeological projects in the Southwest, American West, and Central and Southern Mexico. She served as an associate curator of Latino heritage at History of Colorado and the PhD student at the Cubs and Institute of Archeology at the University of California, Los Angeles. Lucha is the director of the Luv Providencia Archeological Project and Field School and is a visiting professor at the University of Science and Arts in Chapa, Mexico. She considers herself fortunate to grow up surrounded by Chicano-Chicanx art and muralism in Colorado. Upon witnessing the destruction of Chicano murals throughout the state, she began archiving their stories and the stories of the muralists. Lucha is executive director of the Chicano-Chicanx Murals of Colorado project, a grassroots organization that advocates for protecting historical and legacy community murals across Colorado. The project collaborates with communities, artists, scholars, and cultural and academic institutions to develop the education and preservation projects to celebrate the visual heritage of Colorado. Again, we are so thrilled to have these speakers with us today and I will now turn the presentation over to our first speaker, Tanisha Anthony. Good afternoon, everyone. My name is Tanisha Anthony and I am the site manager here at the Charlotte Hawkins Brown Museum at the historic Palmer Memorial Institute. We are owned and operated by the North Carolina Department of Natural and Cultural Resources under the division of state historic sites. The efforts to get our site on this list was spearheaded by our wonderful assistant site manager Liz Torres Melendez, who could not be here with us today, but she has put forth so much of a commitment and dedication to seeing this project through to a success. So I hope that I will do her justice with this presentation here today. So I'll just start by giving a bit of history about our site. The Palmer Memorial Institute was founded in 1902 by Dr. Charlotte Hawkins Brown, who was an educator and activist, a visionary. When she was very young, her parents moved her whole family from Henderson, North Carolina to Cambridge, Massachusetts, where she was raised and completed most of her schooling. When Dr. Brown was about 18 years old, she was hired by the American Missionary Association, which established schools in the south for newly freed black families. AMA sent her to the rural town of Sedalia, North Carolina, where we are today to teach at a school called Bethany Institute, which was held in a church across the street from the site, and is still an operating church today. This is where Dr. Brown's first year AMA closed the school, but Dr. Brown knew that there weren't any other educational opportunities in the area for African Americans, and so she wanted to stay and continue to teach. And so the community wanted her to stay as well. Dr. Brown spent the summer of 1902 in Massachusetts back home in Massachusetts fundraising. She was able to raise enough funds to purchase a blacksmith shop, which was located where our visitors parking lot is today. And so that fall in 1902 at the age of 19, Dr. Brown opened Palmer Memorial Institute. And so in the beginning, the school placed a focus on industrial agricultural domestic education. And as the school grew and as Dr. Brown matured and her ideologies developed Palmer transformed into a place that focused on culture education performing and fine arts as well as those core academic subjects. It became nationally accredited internationally recognized elite college prep boarding and finishing school. And it was one of the first of its kind to be fully accredited by the Southern Association of colleges and secondary schools. So Palmer Memorial Institute transformed the lives of more than 1000 African American students and today the site links Dr. Brown and the history of Palmer Memorial Institute to the larger themes of African American women and education and social history. So a little bit about what brings me here today. What kind of creates that physical connection to our site, which are the dormitories throughout its history, Palmer's campus has had many buildings and structures. This current campus is comprised of buildings that were built mostly during or after the 1920s. These dorms were symbols of the college prep education that Palmer provided. They harken back to Dr. Brown's hometown, the place she was raised. And Dr. Brown was very clear that she wanted the campus to be designed to look like a new England college campus as a statement to visitors in the community and also to prepare students to achieve, you know, what she saw was possible for them. These dorms were spaces where students developed socially in the hall lounges students held hall council meetings and student organization meetings and music practice and game nights. They became really the students home away from home the dorms were truly at the center of student life. Two original brick dormitories and you can see one of them here in the center picture. They are the most architecturally impressive structures on the campus today. Galen Stone Hall, which is the girls dormitory and Charles Elliott Hall, which is the boys dormitory, they actually are on opposite ends of the campus and they face each other from those ends of the campus. Galen Stone Hall was a girls dorm and it was built in 1927 by architect Harry Barton. It contained rooms for between 125 and 140 girls inside of Galen Stone was the infirmary and the nurses office and there was a beauty parlor where girls would, you know, do each other's weekends. There was also one Sunday a month where boys were allowed to visit their sweethearts with a chaperone. So you can imagine we hear a bunch of wonderful stories from our alumni who stayed in Galen Stone Hall. Charles Elliott Hall was the boys dorm and both of those in the stone and Charles Elliott look exactly like the center picture here on this this current slide. Charles Elliott Hall was also designed by Harry Barton. The dorm was built in 1934. It was intended to be identical to the girls dorm the Galen Stone Hall. But funding shortage during the construction prevented the completion of one wing of the building so it's about half the size of Galen Stone now. So both the Galen Stone and Elliott alumni remember the long tables with the ink well set up for study hall. The dorm matron of the faculty member would walk up and down the long room during nightly two hour study period just making sure the students were doing their work and assisting folks who had questions. And then the final door that that kind of brings us here today was Reynolds Hall, and that was the final building constructed on campus constructed in 1968. It was another boys dorm designed by an architect named Willie Edward Jenkins he was alumni and alumni from the local HBCU which is currently the largest HBCU in the nation with Carolina culture and technical State University with funding provided by the background Reynolds Foundation in Winston Salem North Carolina, hence Reynolds Hall, and you can proceed to the next slide please. So a little bit about the threat of these dorms and the current conditions of these dormitories. When Palmer closed its doors in 1971, the buildings were left more or less unattended. The two owners before the state of North Carolina acquired the property didn't have the resources to keep up the entire campus and the dorms, particularly Galen Stone suffered for it. After the property became a state historic site underfunding meant no resources for intervention. The fire in Galen Stone Hall in the early 2000s and it severely damaged the stability of the building. The fire damage was never repaired and the south wing of the building is completely inaccessible because there are holes in the ceiling and the floor of every story. The roof of Galen Stone is leaking severely. I conducted an analysis of the roof and engineers found that every element of the roof needs to be rebuilt with new materials because of the extent of the water damage. When we call the boys dorm, the damage there is not as intense as the damage in Galen Stone Hall but it is still significantly unstable plants have grown to the building water damage has severely damaged the ceiling squatters managed to break into the building at one point and damage much of the first floor. The buildings used in the construction of Reynolds and frankly all of the dorms include asbestos tile which is cracked throughout the building pest infestations have damaged parts of the building water damage is also visible in the building. For Reynolds Hall the structure itself is sound, but there are still many aspects of the building, you know that present a significant threat. The lack of funding has led to deferred maintenance and as a severity of storms increase damage is only going to get worse and so if there weren't plans for major intervention, the buildings would risk reaching a point of no return. Next slide please. I think the reasons that we applied to this list is are pretty clear. The dorms are vital to the memory of the school alumni fondly recall walking the halls during like studying in their rooms and getting to know their roommates would eventually become their lifelong friends. When those alumni visit the site they are eager to re enter their old dorms and they're just sorely disappointed to learn that the buildings are unsafe. We want alumni to have that physical connection to the place that makes such a significant stamp on their lives, as well as black education and black excellence in general. And so the North Carolina Department of Natural and Cultural Resources as well as the division of state historic sites within the department. Everyone is very interested in seeing these buildings restored but are all seeking the necessary funding. The town of Sedalia is even also interested in the restoration of these dormitories. We really want this site to be revitalized back into a community hub, a community anchor as I heard earlier, and a resource center for African American history and education. We want a better way to interpret student life on campus. There is so much potential for turning these dorms into usable spaces again and bringing back the physical connection to our site. The dorms contain the potential for multi layered interpretive spaces that could focus on students social development educational development civil rights involvement and day to day life between 1927 and 1971. The dorms are what set the site apart as a former educational institution I mean without them we are kind of just a collection of small cottages. Beyond the interpretive opportunities presented by the dorms. There's also a massive community building opportunity. The residential and Elliott halls are located across the street from Sedalia town hall, and all three of the dorms really have the potential to be used by the town and by the department for meeting spaces or offices. These spaces also have the potential to be used for classrooms and overnight camp dormitories and maker spaces and local library branch and just so much more. Providing the spaces in a historically black town like Sedalia, located between the developing cities of Burlington and Greensboro. It just has the potential to be so transformative. So, being on the 11 most endangered historic places list. It gives us an opportunity to start over to be honest with the public about the state of the building so that we can rebuild in the light of day with public accountability. And now that the reality of the condition of these buildings is out there. And we now have visitors asking questions, we have local journalists, wanting to know what's going on, you know, how can the community be involved, how can we help. And so we can't put this back in a box. We can't ignore the reality that these buildings are collapsing. North Carolina Governor Roy Cooper did include $16 million in his budget to go toward our dorms. $16 million did not end up getting approved it wasn't passed all the way through but the fact that these dorms made it into that conversation speaks so loudly to the significance of being on the 11 most endangered historic places list. That public pressure and that public attention is vital. And plus this experience has put us in contact with some incredible folks within the National Trust, and given us access to opportunities that we couldn't have dreamed of. And so, on behalf of the Charlotte Hawkins Brown Museum and the Department of Natural Cultural Resources in North Carolina, as well as the North Carolina Division of State Historic Sites, I want to say thank you, thank you to the folks at the National Trust. And we here at the museum we look forward to seeing all the progress made here, as well as all of the other places on the list. Thank you so much. I'm Robin Achilles, the Executive Director for Friends of Minidoka. Thank you so much for including us in today's webinar. We are deeply grateful to the National Trust for their work on behalf of Minidoka National Historic Site. Friends of Minidoka is the philanthropic nonprofit partner for Minidoka National Historic Site, a unit of the National Park Service. And we support the site by protecting, preserving, and educating about the unconstitutional forced mass incarceration of Japanese Americans during World War II. I thought I would share a little background first about the Japanese American experience because it is a history that many people are unfamiliar with. And then highlight Minidoka National Historic Site, and then discuss our fight to protect the site from a massive wind project proposal. So the Japanese American story begins in the late 1800s, when the first Japanese immigrants came to the US. They farmed, worked in lumber camps, established businesses. They eventually settled, had families and became a permanent part of America. Next slide, please. After the bombing of Pearl Harbor, the war hysteria grew in our country, mainly fueled by already existing anti-Asian sentiment and racial discrimination in our country. Next slide. Despite having the right of citizenship through birth in this country, Japanese Americans were forced to remind the larger community that they were in fact American citizens. Next slide. 80 years ago, in February 1942, Franklin Delano Roosevelt signed Executive Order 9066, which paved the way for the incarceration of 120,000 Japanese Americans. Japanese Americans from communities up and down the West Coast were removed by the government, despite the fact that government reports at the time explicitly stated that there was no evidence of espionage and treason, and that the Japanese American community was loyal to the US. Japanese Americans were given one or two weeks notice of removal and sold their belongings at deeply discounted prices, or had no choice but to leave everything behind, losing years of hard work in this country. This decimated Japanese American communities. Next slide. This is a photo of the Kitamoto family being removed from Bainbridge Island outside of Seattle, Washington. Each person was tagged with a number, which you see hanging from their coats. Next slide. And here you see people walking from the Bainbridge Island ferry to the train in Seattle. People could only bring what they could carry. Next, people were sent to detention centers, which were euphemistically called assembly centers by the government, and they were located at racetracks, fairgrounds or stockyards. Family lived in stalls which had previously housed animals, and they remained at these detention centers for four to six months while the inland concentration camps were being built. There were 10 war relocation centers where the majority of families were incarcerated. Minidoka was located in south central Idaho, because the Minidoka Bureau of Land Reclamation wanted cheap labor. Minidoka Incarceries built part of the irrigation canal system, cleared sagebrush and lava stones and farmed the land. Next slide. People of 13,000 Japanese Americans from Alaska, Oregon and Washington were incarcerated at Minidoka. There were 39 blocks, each block consisting of 12 barracks, a mess hall and a latrine. Next slide. People remained at Minidoka for up to three and a half years. When Minidoka closed, people were given $25 for bus or train fare, and they had to decide where to start over. Others rarely spoke about these years to their children and grandchildren in an attempt to forget the pain and trauma. Next slide. I often quote Samuel Clemens or who we know is Mark Twain. He said, history doesn't repeat itself, but it often rhymes. So this unconstitutional incarceration of Japanese Americans occurred because of wartime hysteria, racial prejudice and a lack of political leadership. Over the past years, we have seen a similar and disturbing hysteria targeting Asian Americans. We've seen during the pandemic, a rise in violence and hateful rhetoric, Asian Americans seen as foreigners, people who are not part of the American fabric and political leadership failing to stand up against racism and for what is right. So we continue to tell the story and fight to protect the sacred site because of these rhymes of history to ensure the painful experience of those who suffered this indignity of an unconstitutional mass incarceration is not forgotten. And to ensure that we learn from their sacrifices and prevent these rhymes and history today and in the future. Next slide. Last year Minidoka National Historic Site celebrated its 20th anniversary as a unit of the National Park Service. The National Park Service friends of Minidoka and the Japanese American community have worked tirelessly to preserve the story of Minidoka. Next slide. The Interpreted Visitor Center is housed in the historic auto shop building and open just before the pandemic. Next slide. In the visitor center is the Issei a legacy of courage exhibit, which is dedicated to the first generation of Japanese immigrants who were incarcerated at Minidoka. It was from naturalization until the 1950s due to racist laws. And we feel that the Issei suffered the most having everything taken away from them, and they never fully recovered after the incarceration. Next slide. Visitors at Minidoka can take a 1.5 mile walking tour and immerse themselves in the history of Minidoka. The historic barrack and mess hall sit in the location of block 22. There is a replica military honor roll which was originally created by in car series to honor the soldiers who served in the US military, while their families remained in Minidoka. Next slide. Minidoka is considered a sacred place to the Japanese American community, a place for reflection, reconciliation and healing. Organized annual pilgrimages by survivors and descendants have played an important role in dealing with the trauma of the past. A deeply emotional experience, it has allowed people to share stories, release the pain that they've carried over the years, and understand how this pain is carried down through generations. Pilgrim in this photo you can see the pilgrims visiting the military honor roll. Next slide. So in the fall of 2021, friends of Minidoka learned that Ellis power, a private equity firm was seeking approval from the Bureau of Land Management to build a massive wind project on federal land within two miles of the parks visitor center. This project would encroach on Minidoka's historic footprint and would be one of the largest wind projects on US soil. There will be 400 wind towers, 340 visible from the parks new visitor center. Over a dozen of those towers will be located on Minidoka's historic footprint, including within two miles of the visitor center. The towers proposed are 740 feet tall, taller than the Space Needle or the Washington Monument, and taller than any existing wind towers today. This proposal will create a visual wall of towers and spinning blades that would dominate 114 degrees of the park's 360 degree viewshed. Next map. Sorry, next slide. This map shows how the massive, how massive this project is. It covers 73,000 to 77,000 acres of flat BLM land. And on the map, well the red star is Minidoka National Historic Site. The black hatched area on the map shows the historic footprint of Minidoka. The light blue lines are the proposed corridors for the wind turbines. And the yellow lines are transmission lines, access lines, roads to be able to access the wind project. We certainly support renewable energy and recognize that we are in a global climate crisis. However, we firmly believe that we need to site renewable energy projects in a thoughtful manner that protects historic sites like Minidoka. Next slide. Friends of Minidoka was unaware of the project until the announcement appeared in the Federal Register. In September, we scrambled to organize the Japanese American community across the country, and we created a community task force to develop a strategy. We hired Dan Sakura of Sakura Conservation Strategies as an advisor to help us with our effort. Dan is a Minidoka descendant and was instrumental in establishing Minidoka as a part of the National Park Service. He helped expand the park border and helped us with previous fights to protect the site. Dan has been phenomenal and instrumental in helping us fight to protect Minidoka at the federal level. So the BLM is required to follow a process to evaluate this lava ridge wind farm proposal. And this is called the Environmental Impact Statement Process. In September and October 2022, there was an initial public comment period. We mobilized the Japanese American community to submit comments to the BLM. Based on the public comments, the BLM is studying stakeholder concerns and evaluating the impact of the project. Currently, there is, you know, what we call a wind rush in South Central Idaho. There are several other large projects like lava ridge that have been submitted to the BLM, and the BLM must launch the same EIS project process with each of these projects. We also recently started working with a local community in southern Idaho. Many people were unaware of the project and its impact. The local committee of ranchers and farmers formed and held a committee, a community meeting to share this information. The meeting had an overflow crowd of 200 people at the local library, which then sparked the local community and their organizing process. They created a website and a Facebook page, and, you know, it's mobilized people to participate in the BLM process. They've contacted their local, state, and congressional representatives. Next slide. So this experience taught us that in order to be successful in this fight against climate change. There really needs to be community support for projects aligned with Biden administrative priorities, like racial justice, and be based on BLM land use planning. And the current BLM resource management plan is over 37 years old. We have been working with EIS and our belief that we need sound BLM land use planning. Friends of Minidoka is asking that the BLM pause and update what is called their monument resource management plan. We would ask that all actions related to the Lava Ridge project be paused and revise the monument resource management plan through a holistic public process before advancing with an EIS process on Lava Ridge. And if the BLM is unwilling to suspend the EIS process, we're asking that they add another alternative to its draft EIS. Next, Minidoka National Historic Site. Next slide. So in the past Minidoka National Historic Site was named to the National Trust's 11 Most Endangered List when it was threatened by a concentrated animal feed operation, which was eventually defeated. And so Dan, friends of Minidoka again submitted a nomination for Minidoka National Historic Site to the 11 Most Endangered List, and we were thrilled that Minidoka was included in 2022. This designation has been instrumental in raising awareness about the threat to Minidoka, and it provided credibility to our fight to protect the site. And it was fully for media coverage while the National Trust worked in the National Media Outlet. Next slide. The National Trust also provided important advocacy outreach to its base after the announcement of the 11 Most List. And we are doing another push with the National Trust to its base in August regarding our request to the BLM. Thank you. Next slide. Thank you again for your time and allowing us to share efforts to protect Minidoka National Historic Site. If you have any questions, please feel free to email me at the email listed on the screen and you can learn more about Minidoka and our fight against Lava Ridge on our website. Thank you very much for joining us this June. Thank you National Trust for inviting me to this really important conversation. My name is Lucha Martinez de Luna. I am director of the Chicana, Chicana, Chicana X murals of Colorado project. My name is Lucha Martinez de Luna. I am director of the Chicana, Chicana X murals of Colorado project. My name is Lucha Martinez de Luna. I am director of the Chicana, Chicana X murals of Colorado project. Essentially I often tell this story from my perspective because I have very much as you heard in my biography been very much involved in muralism and Chicana muralism since I really I was born. So, next slide please. There's a little bit of background about the project, the grassroots, it's a grassroots nonprofit organization, our mission is to protect preserve and promote the visual legacy of Colorado. And we also collaborate with a consortium of scholars, artists and community members and cultural institutions. Next slide. When Chicana muralism began during the civil rights movement, it was really an initiative to, to teach our history and what I mean our history I'm referring to the history of Colorado. Not just Hispanos, Chicanos, Mexicanos, but really telling that story of what was not taught in the schools about the settlement into the Southwest of the Spaniards, and later on the coexistence with the indigenous communities that lived in this area so these murals at the very beginning were intended to teach the history that was not being taught in schools. So they're very complex narratives, and they often use portraits or portraits of individuals that live in the community in in these depictions. Next slide please. And what is so essential about these murals is that they are essentially occupying space that Hispanos, Mexicanos and Chicanos have lived in for centuries, but it was also a very, very much a social statement saying yes we do belong in these spaces and we, we wanted to express our belonging through with these murals so the murals become very permanent in these spaces and that's what's critical about these murals because right now, there is very much a movement in many cities throughout the country throughout the world also in in the state of Colorado, but there is a sense of impermanence to these murals, and the murals painted in the very beginning were since essentially the opposite of what murals are doing now they, they are really trying to give a sense of foundation for these communities that were a lot of times next slide. So we wanted in what we would consider historically marginalized communities are red line communities. So, beginning in the civil rights movement. Chicano art was essentially designed to rediscover our heritage and our history. And so he told us all his stories about that about this history, and also to celebrate our self identity. So a lot of these, a lot of the art initially were in response to the civil rights movement so there were silk screen banners, posters, and buttons that they would often the protesters would use during during protest. Next slide please. And then from that, we have the very beginnings of what we become the mural movement in essentially beginning in Denver. So one. This is where my story kind of where I come into play with this, the, the pioneer of the mural movement was Emmanuel Martinez he is my father. And at the very beginning, he was doing Chicano art the art that I explained to you banners and silk screens for several different movements that were happening. He supported Cesar Chavez lived in Delano, California. He also lived in New Mexico supporting the land rights movement and also here in Colorado. The very first mural was painted in a building color that was occupied by the crusade for justice. It was a civil rights organization. And the mural that you see here is essentially what murals become very much to become the aesthetic here in Colorado which is essentially Chicanos celebrating their, their, their ancestry which is a mixed primarily of indigenous and Spanish heritage. So, a lot of the murals are embracing our indigenous ancestry, and in this particular mural it is using my glyphs to talk about that in very important component of our heritage. Next slide. And after my parents that my parents actually lived in the crusade for justice building and then in 1969 they moved into the Lincoln housing projects, which was a an area of a lot of activism activism by a lot of organizations and in in these projects. This is the picture of the home that we lived in. My father decided to paint his first community mural. And when I what I mean by community murals is these murals were painted. The artists would leave and design the mural and then the community would help paint this the murals. So this was the very first one painted. And of course the city of Denver was not very open to this painting the murals and shortly after they demanded that the pain, the mural to be removed, and the community said, began to protest they signed. They signed a protest essentially a form that was telling them that if they try to remove us, my family, and the mural that they would all, they would have to evict everybody in the community. So, the city of Denver backed off and they let the mural stay there. Next slide. After that, a lot of the parks in Denver and in Colorado, the communities even though they were in red line and historically marginalized communities did not necessarily feel like they had access to these spaces. So once again, this was an attempt to try to have more access to these parks and pools. And one way of doing that was by creating murals and this mural was painted in on the pool building at Lincoln Long Park. Next slide. And then shortly after, there was this push to essentially start doing murals and other spaces as well. This is one of those spaces it was at the Our Lady of Waterloo Bay Church. As I mentioned before, a lot of these murals were really portraits of people in the community. They were very significant and there was a lot of linkage to the past but also to the present with these murals. Next slide. And I wanted to just give you an example of what has happened with a lot of these murals. So, a two year right is the mural Our Lady of Waterloo Bay. There were essentially 13 murals painted in this church. And in the early 2000s when 2010s when gentrification really started happening in this first community, what we call the north side. And really what started happening is a lot of the murals were starting to be erased and in the church, this happened as well. So on the right side, you see the mural and on the left side, this is what it looks like now. There was actually a wall constructed in front of the mural, and all of the other murals in the church were erased. Next slide. And this was another mural that was painted across the street from the Sun Valley housing projects. And once again, very much a community mural. It was speaking up, really trying to a lot of these murals try to educate the community and they encourage people to stay in school. And this was also an opportunity to talk about the dangers of the murals that were very much plaguing a lot of these, the housing projects in the 70s. So that's, these are very much statements of not just our culture, but also social issues. And this mural was the largest mural painted in Denver at the time. Next mural, I mean, next. Yeah. And once again, as I mentioned, you know, very much community led. And this is when these murals were unveiled a lot of everybody would come out from the community. There would be live bands dancing, and it was very much a celebration. Next slide. So this is what the mural looks like now in the 1990s. You know, the building was bought, and the owners had called the city of Denver to let them know that somebody did a little bit of tagging on the murals which is actually very rare in the communities but they asked the city of Denver what the, how they would remove it, and the city of Denver came and decided to paint over the entire mural. Next slide. Now what is so impactful about this erasure that happens with the murals is the people responsible for painting over the murals rarely reach out to the community to ask the value or the importance of these murals. This is another example. This was also at our Lady of Waterloo Church. And as I mentioned before, these murals very much describe the history of settlement in the state and this is one of those murals. Next slide. And we actually lost two more murals during quarantine. One of the murals was Mrs. God, and an artist came in and painted the bottom half of the mural and painted what he called a COVID nurse. Next slide. And here's another example of a mural painted by the community, a lot of times youth and students from nearby schools will help paint these murals. Next slide. And this is the mural after it was painted. Next slide. And this happened during quarantine, just painted over one morning and the community reached out to me and CMCP and essentially asked what we can do to, what we can do to try and bring this mural back. So this is our first chance, because we reached out to the building owners and let them know how distraught the community was about this and they actually are paying for us to restore this mural, which is a first for Colorado. And next slide. So what we are hoping with the listing from the National Trust is we can, they could help us and the people can realize how important these murals are to our communities. They're not just a an aesthetic for us. They are very much part of our history and part of our community. And so we are asking the community to reach out to CMCP to let us know in Colorado, what murals are important to them and their community so we can help them look for solutions to preserve the murals. And I also encourage communities and other parts of the country to also do the same because a lot of these murals, some of them are 50 years old, and it is, I think, very important that we preserve this important part of our history. Thank you. Thank you so much to all of our speakers. We would now like to have a few minutes for questions and answers from the audience. So I do see that we have one question submitted to the Q&A button. If you would like to ask a question and haven't yet submitted, ask your chance to do that. But first we'll take this question from Marilyn Pickers, which is for Tanisha. She says, thank you Tanisha for your presentation on Palmer Memorial Institute. I'm a graduate from the class of 1959. Our Alumni Association PMIAA has been active throughout the years, especially from the time of its designation as a historical site. We appreciate the state of North Carolina's commitment to the improvement of the ground and the utilization of the facilities that's running communities. My question, what is the estimate for the rebuilding of Galen Stone Hall? Sure. Well, first of all, thank you for your question, Ms. Peters. I'm always honored to be in the same space as alumni from Palmer. So thank you for participating and shooting this question over to me. So eight years ago, the estimate to rebuild just Galen Stone alone was about $3 million. And so with additional deterioration and increased construction costs, it could be upwards of $8 to $10 million. Now, what did I say earlier? I said $8 million. It was $3 million eight years ago. And now it could be upwards of $8 to $10 million. Definitely a multi-million dollar project. We don't have an updated estimate or anything for Galen Stone quite yet, but definitely I would estimate $8 to $10 million. I don't see that we have any additional questions coming through in the Q&A section. And since we're almost at time, we'll go ahead and wrap up. So next slide, please. So keep the discussion going on our forum connect. This is our online community for people in the business of saving places. We have active conversations happening all week around topics from section 106 to women's history of historic sites. You haven't joined connect yet. You should. It's a great place to keep up this conversation and to start more. Next slide. We also invite you to join us for this upcoming preservation leadership forum webinar of preserving the places of where women made art that will be taking place on August 4 from 1 to 2 30 p.m. each year in time. Next slide. Thank you so much to everyone who attended today's webinar and a special thank you of course to our speakers for sharing their knowledge and expertise with us. If you have any questions following this webinar, please don't hesitate to contact us. Our email is forum at saving places.org. And thank you for a fee in the chat. We also have a link to where you can find this webinar will be uploaded in a few within a few days. If you'd like to revisit. Thank you so much everyone. Have a great afternoon.