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Prologue

1. Ann Markusen, “Urban Development and the Politics of the Creative Class,”

Environment and Planning 38: 1928.
2. Memory’s Caretaker, Text and Performance Quarterly 24.2 (2002): 161–181.
The Great Chittlin Debate, with Kitty Williams, in Jump-Start Playworks (San

Antonio: Wings Press, 2004), 165–190. Quinceañera, with Alberto Antonio “Beto” Araiza, Michael Marinez and Danny Bolero Zaldivar, in The Color of Theater, ed., Roberta Uno and Luci Mae Sao Paolo Burns (London: Continuum, 2002), 261–302.
3. Chris Williams, “Group Says Arts Cut Actually Targeted Gays,” San Antonio
Express-News, September 19, 1997; David Anthony Richelieu, “Council’s Art Attack Echoes with History,” ibid, September 21, 1997; Susan Yerkes, “First They Rob Peter—Now They Mug Paul,” ibid, August 29, 1997. In a move that would resonate with the general tone of the culture wars, press accounts at the time followed the councilman’s extra-marital affairs, particularly his attempts to be recognized as the father of a child by a woman who was not his now former wife. Despite the fact that the politician had risen to prominence as an aide to former Mayor Henry Cisneros, a liberal, my colleagues and I often read his attacks as an attempt to shore up a conservative base. We relied on this notion to explain the number of self-identified Christian counterprotestors at “citizens to be heard” meetings, yet the Esperanza trial would bring out a stronger divide in the city. See Chris Anderson and Travis E. Poling, “Marbut Is in Dispute over Visitation Rights,” ibid, March 15, 1998; Rick Casey, “Beyond Weakness: The Marbut Affair,” ibid, September 26, 1999.
4. In an essay posted online, Esperanza Center lead attorney, Amy Kastely, describes the ruling’s significance for marginalized communities and its rela-

tionship to the Supreme Court’s ruling on The National Endowment for the Arts

et al. v. Finley et al. in 1996. See “Our Chosen Path: Esperanza vs. The City of

San Antonio,” Esperanza Peace & Justice Center, September 16, 2013, http://

www.esperanzacenter.org/cityofsatodos_fs.htm.
5. Sara Jarrett, “Dancers Working: Mile-High Majesty,” Pointe, May 2001, 28.
The partnership of the two companies was not unprecedented. As early as 1983, the Cincinnati Ballet and the New Orleans ballet formed a “sister city” alliance. Jack Anderson, “David Mcclain, 51, Cincinnati Ballet Director,” The New Y o rk Times, December 16, 1984. http://www.nytimes.com/1984/12/16/ obituaries/david-mclain-51-cincinnati-ballet-s-director.html.
6. I use the term altruism here because altruism and its discontents provide an excellent pivot from which to understand fundamental issues facing the artists in the United States. Robert Trivers’ (1971) notion of “reciprocal altruism” (aka “tit for tat”) explains how individuals respond in kind

147

148 Notes

to perceived and real acts of kindness. Robert Trivers, Natural Selection and

Social Theory: Selected Papers of Robert Trivers (Oxford: Oxford University Press,

2002).
7. Cost disease explains how the successful growth of arts organizations causes them to expand beyond their capacity to sustain the organization. William

J. Baumol and William G. Bowen, Performing Arts, the Economic Dilemma: A Study of Problems Common to Theater, Opera, Music, and Dance (New York:

Twentieth Century Fund, 1966); Gregory Besharov, “The Outbreak of the Cost Disease: Baumol and Bowen’s Founding of Cultural Economics” History

of Political Economy 37.3 (2005).

1 Introduction: Performing Policy

1. Steven J. Tepper and Stephanie Hinton, “The Measure of Meetings: Forums,
Deliberations, and Cultural Policy,” Working Paper 27 (Princeton, NJ: Princeton University Center for Arts and Cultural Policy Studies, 2003), 3. Emphases original.
2. MariaRosarioJackson,“TheArtistandtheirPublicsinCross-SectoralProjects—
Lessons Learned and Future Questions.” Keynote Address, Leadership in the Arts Summit,” University of Houston, April 5, 2014.

3. Roberto Bedoya, U.S. Cultural Policy: Its Politics of Participation, Its Creative

Potential (New Orleans: The National Performance Network, 2004). Holly

Sidford, Fusing Arts, Culture, and Social Change (Washington, DC: National

Commitee for Responsible Philanthropy, 2011). Maria Rosario Jackson,

Developing Artist-Driven Spaces in Marginalized Communities: Reflections and

Implications for the Field (Washington, DC: Urban Institute, 2012).

4. J. L. Austin, How to Do Things with W o rds, 2nd ed. (Cambridge, MA: Harvard

University Press, 1975), 6.

5. Diana Taylor, The Archive and the Repertoire: Performing Cultural Memory in the

Americas (Durham, NC: Duke University Press, 2003), 12.
6. Thesecategories,moreexpansivelydefinedas“writers;visualartists(including filmmakers and photographers); musicians; and performing artists (including actors, directors, choreographers, dancers),” represent four subgroups defined under US Census Bureau of Labor Statistics Codes. Ann Markusen, “Urban Development and the Politics of a Creative Class: Evidence from a Study of

Artists,” Environment and Planning 38 (2006): 1925.
7. Jackson, Developing Artist Driven Spaces in Artist-Driven Communities, 2.

8. Writes Bhabha: “The language of critique is effective not because it keeps forever separate the terms of the master and the slave, the mercantilist and the Marxist, but to the extent to which it overcomes the given grounds of opposition and opens up a space of translation: a place of hybridity, figuratively speaking, where the construction of a political object that is new, neither the one nor the other, properly alienates our political expectations, and changes, as it must, the very forms of our recognition of the moment of politics.” See Homi K. Bhabha, The Location of Culture (New York: Routledge, 1994), 37. Emphasis mine.
9. Michael Hardt and Antonio Negri, Empire (Cambridge and London: Harvard
University Press, 2000), 145.

Notes 149

10. Holly Sidford, Laura Lewis Mandeles, and Alan Rapp, Cornerstones (New
York: Leveraging Investments in Creativity, 2013), 34–35. See also http:// www.paifoundation.org. See also Maria Rosario Jackson, Building Community: Making Space for Art (Washington, DC: Urban Institute, 2011), 9.
11. In deference to his project, I wish to point out that Garcia Canclini’s book more directly addresses the circumstances in Latin America “to develop a more plausible interpretation of the contradictions and the failures of our modernization”; however, I would argue his greater project relates directly to the circumstances faced by US artists as cultural practitioners. See Hybrid Cultures, trans. Christopher L. Chiappari and Silvia Lopez (Minneapolis and London: University of Minnesota Press, 1995), 2–3.
12. John Kreidler, “Leverage Lost: Evolution in the Non-profit Arts Ecosystem,”

in The Politics of Culture: Policy Perspectives for Individuals, Institutions, and

Communities, ed. Gigi Bradford, Michael Gary, and Glenn Wallach (New York: New Press, 2000), 147–168.
13. See Carl Grodach and Michael Seman, “The Cultural Economy in Recession:
Examining the US Experience,” Cities 33 (2012): 13.
14. Wally Cardona, “Success in 10 Minutes or Less: Reflections on Life and Work

as a Contemporary Artist,” Dance from the Campus to the Real W o rld (and Back Again): A Resource Guide for Artists, Faculty, and Students, 128–131. Ed.

Suz<shapeText></shapeText>anne Callahan. Washington, DC: Dance/USA, 2005, 130–131.

15. See Ann Markusen et al., Crossover: How Artists Build Careers across Commercial,
Non-profit and Community W o rk (Minneapolis: Humphrey Institute of Public

Affairs, University of Minnesota, 2006), 11–20.
16. Essig, Linda. “Not about the Benjamins: Arts Entrepreneurship in Research,
Education,andPractice.”KeynoteAddress,ArtsBusinessResearchSymposium, University of Wisconsin-Madison, WI, March 13, 2014. Essig’s text can be found on her blog, “Creative Infrastructure.” http://creativeinfrastructure. org/2014/03/19/the-ouroboros-last-good-business-practices-and-the-arts/
17. Essig also resists this dichotomy by arguing that artists who show good practices may do so to support the social and cultural goals of their project as much as the economically prosperous ends. Ibid. See also Paul Bonin-Rodriguez, “What’s in a Name? Typifying Artist Entrepreneurship in Community-Based

Training,” Artivate: A Journal of Entrepreneurship in the Arts, 1.1 (2012), http://

www.artivate.org/?p=115
18. For an assessment of the unique role artists play as cultural entrepreneurs, as well as the challenges they face, see Ann Markusen, “How Cities Can Nurture Cultural Entrepreneurs,” Policy brief for the Ewing Marion Kauffman Foundation, Mayor’s Conference on Entrepreneurship, Kansas City, MO, November 20, 2013. Accessed April 12, 2013, http://www.kauffman.org/what- we-do/research/2013/11/how-cities-can-nurture-cultural-entrepreneurs

19. “The Artist as Public Intellectual,” in The Politics of Culture: Policy Perspectives for Individuals, Institutions, and Communities, 240–241. See also Caron Atlas,

“How Arts and Culture Can Advance a Neighborhood-Centered Progressive

Agenda,” in Toward a 21st Century for All: Progressive Policies for New Y o rk City

in 2013 and Beyond (New York: Arts & Democracy Project). Accessed May 1, 2014, http://21c4all.org/culture

150 Notes 20. Jackson, Building Community, Making Space for Art, 6. See also Maria Rosario

Jackson, “Revisiting the Themes from the ‘Investing in Creativity’ Study: Support for Artists Pursuing Hybrid Work,” in W o rkforce Forum (Washington, DC: NEA, 2009), http://www.nea.gov/research/Workforce-Forum/PDF/ Jackson.pdf

21. Jan Cohen-Cruz, Engaging Performance: Theatre as Call and Response (London

and New York: Routledge, 2010), 74. See also James Bau Graves, Cultural

Democracy: the Arts, Community, and Public Purpose (Urbana-Champaign:

University of Illinois Press, 2005).
22. Liz Lerman, Hiking the Horizontal (Middletown, CT: Wesleyan University
Press), 157.
23. See Grant Kester’s writing on Park Fiction, the public part installation in

Hamburg, Germany. In The One and the Many: Contemporary Collaborative

Art in a Global Context (Durham and London: Duke University Press, 2011), 204–210.
24. See Kester’s writing on Nalpar (Water Pump Site). Ibid., 76–84. 25. Ibid., 5.

26. Shannon Jackson, Social W o rks: Performing Art, Supporting Publics (New York:

Routledge, 2011), 14.

27. Lewis Hyde, The Gift: Creativity and the Artist in the Modern W o rld, 2nd ed.

(New York: Vintage Books, 2007), xvi. Hyde’s thinking and writing has been critical to the formation of the Creative Capital Foundation. See Lewis Hyde, “Being Good Ancestors: Reflections in Arts Funding since World War II.”

Kenyon Review 3.1 (2008): 5–18.

28. Alice Bernstein and Margaret B. Wilkerson in “Introduction: Why Artists Need
More than Creativity to Survive,” in Maria Rosario Jackson et al., Investing

in Creativity: A Study of the Support Structure for US Artists (Washington, DC:

Urban Institute, 2003), i.

29. Richard Caves, Creative Industries: Contracts between Art and Commerce

(Cambridge, MA: Harvard University Press, 2000), 6.
30. Deborah Hay, Interview with Artist, April 25, 2014. 31. MargoJefferson,“WordstotheWisePerformanceArtist:GetHelp.Collaborate,
Grow,” New Y o rk Times, January 1, 2005. Accessed May 1, 2014. http://www. nytimes.com/2005/01/01/theater/newsandfeatures/01jeff.html?_r=0
32. Sam Miller, Interview with Author, April 11, 2014. See also http://www. hampshire.edu/academics/curate.htm, Accessed date May 29, 2014
33. Jill Dolan, Geographies of Learning (Middletown, CT: Wesleyan University
Press, 2001), 135.
34. Jill Dolan, “Introduction: A Certain Kind of Successful,” in Peggy Shaw,

Menopausal Gentleman: The Solo Performances of Peggy Shaw, ed. Jill Dolan

(Ann Arbor: University of Michigan Press, 2011), 9.
35. Ibid., 1. See Sue-Ellen Case, “Introduction,” in Split Britches: Lesbian Practice,
Feminist Performance, ed. Sue-Ellen Case (London and New York: Routledge, 1996), 1–34.
36. In “What Is an Author?” Foucault establishes the linguistic and social formations that enabled his study of institutions in Discipline and Punish (1966, trans. 1970) in The Foucault Reader, ed. Paul Rabinow (New York: Pantheon Books, 1984), 101–120. Foucault (1998) also observes, “Discourse can be both an instrument and an effect of power, but also a hindrance, a stumbling point

Notes 151

of resistance and a starting point for an opposing strategy. Discourse transmits and produces power; it reinforces it, but also...renders it fragile and

makes it possible to thwart.” In The History of Sexuality: The Will to Knowledge

(London, Penguin), 100–101.
37. Holly Sidford, Laura Lewis Mandeles, and Alan Rapp, Cornerstones (New York:
Leveraging Investments in Creativity), 52–53.
38. Borrowing a phrase already operating in this book, Bourdieu is a “crossover” figure in the humanities and the social sciences, the greater academic divisions that I address. Writing between the 1960s and the turn of the century, Bourdieu’s work was coterminous with the period I write about. Coming at a dynamic moment in the development of critical theory in the humanities, it draws from many of the same impulses as the work of Roland Barthes and Michel Foucault, whose works address the power dynamics at work in human communication and organization and the social processes undergirding cultural production. Bourdieu’s work continues to inform the fields of anthropology, philosophy, politics, and economics, and particularly the arts and education. First introduced in Bourdieu’s study of the relationship between aesthetics and class, Distinction (1979), the forms were clarified and amended in later works such as “The Forms of Capital” (1983), which Bourdieu identified the forms as having resulted from his study of the relationship between education and class access. In a later work, The Rules of Art (1996), Bourdieu argued that art is integrally tied to social relations from its access. Pierre Bourdieu, “The Forms of Capital,” in Handbook of Theory

and Research for the Sociology of Education, ed. John G. Richardson (New York:

Greenwood Press, 1986), 241–258.
39. The notion of “weak ties” from network theory describes how acquaintances made with individuals who have different alliances and forms of knowledge serve as bridges to “the outside world.” See Albert-Laszlo Barabasi, Linked (New York: Plume, 2003), 41–43.

40. Susan Bordo, Unbearable W e ight: Feminism, W e stern Culture, and the Body

(Berkeley and London: University of California Press, 1993), 165.
41. Robin Bernstein, Racial Innocence (New York and London: New York University
Press, 2011), 11–12.

42. Kevin F. McCarthy et al., The Performing Arts: Trends and Their Implications

(Santa Monica, CA: RAND Corp, 2001), xx.

43. Caves, Creative Industries, 6.

44. Frank Fischer and Herbert Gottweis, “Introduction: The Argumentative Turn

Revisited,” in The Argumentative Turn Revisited: Public Policy as Communicative

Practice, ed. Frank Fischer and Herbert Gottweis (Durham, NC: Duke University Press, 2012), 1–3.

45. Maria Rosario Jackson et al., Investing in Creativity: A Study of the Support

Structure for US Artists (Washington, DC: Urban Institute, 2003).
46. Taylor, 19–20. I take up some of these ideas and themes in a recent article,
“The Staged Business of Writing for/about Art: Artists in Public Practice.” In Theatre Topics 16, no. 1 (2014): 25–37.
47. Taylor, 19–20. 48. Ibid. 49. Ibid., 2–3. 50. Ibid, 22.

152 Notes

51. Ibid., 28. 52. Ibid., 29–32. 53. Ibid, 20. 54. Separately, W. B. Worthen (2008) and Rebecca Schneider (2011) have criticized Taylor for reinscribing age-old dichotomies between body and text long dismissed by performance studies, or giving too much credence to text’s capacity to maintain its dominance over unruly bodies, respectively. My use of Taylor’s work in this study mediates those claims by following upon Bordo’s assertion that discourses are inscribed through repeated practice. See Rebecca

Schneider, Performing Remains Art and W a r in Times of Theatrical Reenactment

(New York: Routledge, 2011). W. B. Worthen, “Antigone’s Bones,” TDR: The Drama Review 52, no. 3 (2008). I am grateful to D. J. Hopkins for making me more aware of the distinctions.
55. BetsyPeterson, “CulturalPolicyResearchintheUnitedStates:AnIntroduction to Studies and Articles Relevant to Folk Arts and Traditional Culture.” (Supported by the Public Programs Section of the American Folklore Society, 2011). https://scholarworks.iu.edu/dspace/handle/2022/13425

56. McCarthy et. al., The Performing Arts in a New Era, xvii–xxv.

57. Todd London, with Ben Pesner and Zannie Giraud Voss, Outrageous Fortune
(New York: Theatre Development Fund, 2009).
58. Maria Rosario Jackson, Joaquin Herranz, and Florence Kabwasa-Green, Art

and Culture in Communities: Unpacking Participation (Washington, DC: Urban

Institute, 2003); Maria Rosario Jackson and Joaquin Herranz, Culture Counts

in Communities: A Framework for Measurement (Urban Institute, 2002); Jackson, Herranz, and Kabwasa-Green, Art and Culture in Communities: Unpacking Participation; Art and Culture in Communities: Systems of Support (Washington, DC: Urban Institute, 2003); Art and Culture in Communities: A Framework for

Measurement (Washington, DC: Urban Institute, 2003); Maria Rosario Jackson, Florence Kabwasa-Green, and Joaquin Herranz, Cultural Vitality in Communities: Interpretation and Indicators (Washington, DC: Urban Institute, 2006). See also F. Javier Torres, “Revisiting Research: Art and Culture in Communities: Unpacking Participation,” Grantmakers in the Arts Reader 23, no. 3 (2012).
59. Since 1982, the National Endowment for the Arts has conducted the “Survey of Public Participation in the Arts.” The data findings of these surveys provide researchers and arts organizers with information about consumption habits, including consumption through electronic media (like online media, videogames, and music listening), movie-going, art making and sharing, voluntary reading, art classes, and attending live performances or visual arts events. The survey provides one measure of cultural vitality. While its findings are enlightening, the Survey’s reliance on precedent—on adhering to categories that can be compared across years—also challenges nuanced thinking about how and where art is made and consumed. Highlights from the most recent survey (2012) can be found at “Survey of Public Participation in the Arts,” in Research Report #57 (Washington, DC: National Endowment for the Arts, 2012), http://arts.gov/sites/default/files/highlights-from-2012-SPPA.pdf
60. In addition to creating a framework for measurement, these studies argued for the recognition of cultural participation as part of “community ‘qualityof-life’ measurement systems” common to housing and urban policymaking. In 2012, Grantmakers in the Arts, a national organization that supports arts

Notes 153

philanthropy and research, decided to “dust off these policy reports” to assess how critical they have been to contemporary arts and culture organizing. See Alexis Frasz, “New Perspectives in Research: Revisiting Landmark Reports.”

Grantmakers in the Arts Reader 23, no. 3 (2012).
61. Kevin F. McCarthy et al., Gifts of the Muse: Reframing the Debate About the

Benefits of the Arts (Santa Monica, CA: RAND Corp., 2004).
62. Gifts of the Muse also sought to embrace more “expressive logics” that creative expression was critical to everyday life; it had historically been recognized as critical to America’s social and cultural wellbeing. See Joli Jensen, “Expressive

Logic: A New Premise in Arts Advocacy,” The Journal of Management, Law, and

Society 33, no. 1 (2003).
63. Maria Rosario Jackson et al., Investing in Creativity, (Washington, DC: Urban
Institute, 2003), 2.
64. See Ann Markusen et al., Crossover, 11–20. 65. Jackson, et al., 35–36. 66. See Creative Capital. About. http://creative-capital/about. See USA Artists.
About. http://www.unitedstatesartists.org/about
67. See Leveraging Investments in Creativity. About. http://lincnet.net. Last accessed November 9, 2013. According to LINC President, Sam Miller, the LINC archive will remain online until May, 2014. Interview with author.
68. Crowd-source funding mechanisms demonstrate distinct approaches to the market. To leverage buy-in from patrons, both Amazon and US Artists take an “all or nothing” approach, requiring fundraisers to reach minimum pledge goals before actually charging donors. The direct and broad requests for funds made by artists through these programs make discussions about the funding of arts an urgent, even intimate, matter in public culture.
69. Jo Becker, “An Evangelical Is Back from Exile, Lifting Romney,” The New Y o rk
Times, 22 September 2012. Catherine Otterman, “Catholic Leader Is Turned Away at Exhibit He Deemed Offensive,” ibid., September 28, 2012.

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    CONGRESSIONAL ADVISORY BOARDS, COMMISSIONS, AND GROUPS UNITED STATES AIR FORCE ACADEMY BOARD OF VISITORS [Title 10, U.S.C., Section 9355(a)] Board Member Year Appointed Appointed by the President: Susan C. Schwab, (Chair) 2009 Robin Hayes 2009 Marcelite Harris 2010 Arlen Jameson 2010 Sue C. Ross 2008 Appointed by the Vice President or the Senate President Pro Tempore: Senator Lindsey Graham, of South Carolina 2011 Senator John Hoeven, of North Dakota 2011 Senator Ben Nelson, of Nebraska 2007 Appointed by the Speaker of the House of Representatives: Representative Jared Polis, of Colorado 2009 Representative Doug Lamborn, of Colorado 2007 Representative Loretta Sanchez, of California 2007 Alfredo Sandoval 2010 Appointed by the Chairman, Senate Armed Services Committee: Senator Michael F. Bennet, of Colorado 2011 Appointed by the Chairman, House Armed Services Committee: Representative Niki Tsongas, of Massachusetts 2008 UNITED STATES MILITARY ACADEMY BOARD OF VISITORS [Title 10, U.S.C., Section 4355(a)] Jack Reed, of Rhode Island. Maurice D. Hinchey, of New York. Mary L. Landrieu, of Louisiana. Jerry Lewis, of California. Kay Bailey Hutchison, of Texas. John Shimkus, of Illinois. Richard Burr, of North Carolina. UNITED STATES NAVAL ACADEMY BOARD OF VISITORS [Title 10, U.S.C., Section 6968(a)] Appointed by the President: Hon. Nancy Johnson, (Vice Chair) Senior Public Policy Advisor, Baker, Donelson, Bearman, Caldwell & Berkowitz, PC. Albert Hawkins III, Former Executive Commissioner, Texas HHS Commission. ADM John Nathman, USN (Ret.) Former Commander, U.S. Fleet Forces. Lt. Gen. Frank Petersen, USMC (Ret.) Chairman Emeritus, National Marrow Donor Program. RADM Michelle Howard, USN, Chief of Staff, J–5, Joint Staff.
  • From the Hill

    From the Hill

    Colby Magazine Volume 99 Issue 1 Spring 2010 Article 9 April 2010 From the Hill David Treadwell Ruth Jacobs Colby College Suzanne Merkelson Colby College David McKay Wilson Colby College Stephen Collins Colby College See next page for additional authors Follow this and additional works at: https://digitalcommons.colby.edu/colbymagazine Recommended Citation Treadwell, David; Jacobs, Ruth; Merkelson, Suzanne; Wilson, David McKay; Collins, Stephen; Eaton, David; and Meader, Laura (2010) "From the Hill," Colby Magazine: Vol. 99 : Iss. 1 , Article 9. Available at: https://digitalcommons.colby.edu/colbymagazine/vol99/iss1/9 This Contents is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Magazine by an authorized editor of Digital Commons @ Colby. From the Hill Authors David Treadwell, Ruth Jacobs, Suzanne Merkelson, David McKay Wilson, Stephen Collins, David Eaton, and Laura Meader This contents is available in Colby Magazine: https://digitalcommons.colby.edu/colbymagazine/vol99/iss1/9 A Life-Changing Investment A GIFT FOR FINANCIAL AID OPENS COLBY’S DOORS FOR ACCOMPLISHED STUDENTS DAVID TREADWELL STORY CHARLOTTE WILDER ’11 PHOTO Despite their diverse backgrounds and interests, Stephanie Berger ’11, Solomon Gisemba ’11, and Heather Pratt ’11 would agree upon three essential points: they very much wanted to go to Colby, they couldn’t at- tend without significant financial aid, and they’re extremely grateful to donors who fund Colby scholarships. For Berger, who describes herself as a “California girl much more likely to see a celebrity than a wild animal,” Colby’s location was as much of a draw as the College’s academic reputation.
  • Introduction FINAL JAN 2010

    Introduction FINAL JAN 2010

    Promoting Public and Private Reinvestment in Cultural Exchange-Based Diplomacy By Margaret C. Ayers Robert Sterling Clark Foundation Series on International Cultural Engagement ©Margaret C. Ayers April 16, 2010 New York, N.Y. 10065 All Rights Reserved Published by the Robert Sterling Clark Foundation, New York, N.Y. 10065 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of the author. Promoting Public and Private Reinvestment in Cultural Exchange- Based Diplomacy may be downloaded in PDF format from the Robert Sterling Clark Foundation website at www.rsclark.org . Table of Contents Page I. Introduction A. Robert Sterling Clark Foundation Interest in the Field 1 B. A New Day, A New Administration and New Opportunities 2 C. Definitions 3 D. Acknowledgements 5 II. Making the Case for Arts and Cultural Exchange-Based Diplomacy A. What Can Culture Do? 7 B. Building A Body of Evidence 8 C. Cultural Exchange is Good for Business 10 D. The Bottom Line 10 III. Trends in U.S. Public Support for Arts and Cultural Exchange-Based Diplomacy A. An Overview of U.S. Public Diplomacy 11 B. Agency Involvement in Public Diplomacy Post 1999 14 1. The Department of State 2. The Broadcasting Board of Governors 3. The Department of Defense C. Deterrents to Successful Cultural Engagement 22 1. Public Sector Disinvestment 2. Fragmentation of Public Diplomacy Post 1999 3. U.S. Cultural Trade Deficit 4. No Reporting Relationship between U.S. Embassies and the Under Secretary for Public Diplomacy and Public Affairs 5.
  • 2009-NEA-Annual-Report.Pdf

    2009-NEA-Annual-Report.Pdf

    National Endowment for the Arts AnnuAl RepoRt 2009 2009: Year in Review n August 7, 2009, Rocco Landesman, advance educational and career opportunities in the nominated by President Barack Obama arts for people with disabilities. It was the first such Oas the tenth chairman of the National gathering since 1998. Endowment for the Arts, was confirmed by the The agency announced the first seven selections U.S. Senate. Landesman follows Dana Gioia, who for the NEA New Play Development Program, a left the chairmanship in January 2009. Patrice new initiative that provides national support for Walker Powell, the NEA’s deputy chairman for state, exceptional new plays and innovative models of regions, and local arts agencies, served as acting development that lead them to production. The two chairman in the interim. NEA Outstanding New American Play selections— In February 2009, the NEA participated in the Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo and American Recovery and Reinvestment Act of Tarell Alvin McCraney’s trilogy The Brother/Sister 2009 (ARRA) enacted by the U.S. Congress. With Plays—both received national critical acclaim for the a swift turnaround time of five months, the NEA productions. Five other projects were selected for distributed $50 million from ARRA that preserved NEA Distinguished New Play Development Projects. not-for-profit arts sector jobs lost or jeopardized The NEA’s International Literary Exchanges initiative, during the economic downturn. Forty percent of the which promotes the exchange of great world funding was given in one-time grants to the state arts literature across borders, expanded to include the agencies and regional arts organizations, and the People’s Republic of China.
  • 2011 NEA Annual Report

    2011 NEA Annual Report

    National Endowment for the Arts Annual Report One of the Wild Magnolias performs during the NEA National Heritage Fellowships awards concert in September 2011. PHOTO BY MICHAEL G. STEWART The Year in Review, page 3: Grants, page 4; Partnerships, page 4; Lifetime Honors, page 6; Art Works Tour, page 7; Research, page 8 • Financial Summary FY2011, page 9 2011National Council on the Arts, page 10 • NEA Discipline Directors, page 11 April 15, 2012 Dear Mr. President: It is my pleasure to submit the Annual Report of the National Endowment for the Arts for Fiscal Year 2011. Since it was established by Congress in 1965, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector. The activities highlighted in this report illustrate the Arts Endowment’s continuing commitment to making the arts a vital part of the lifeblood of this nation. Additionally, over the past year, I have been touring the country to see how art works in communities large and small. After having seen all the great work being done across the country, in communities large and small, It has made me doubly committed to making the arts a centerpiece of American life throughout the nation. I am confident that as we continue to invest in the arts, we are investing in the very things that make this country great: creativity, inspiration, and hard work. Rocco Landesman Chairman National Endowment for the Arts National Endowment for the Arts The Nancy Hanks Center 1100 Pennsylvania Avenue NW Washington DC 20506–0001 A collection of Vollis Simpson’s whirligigs, which will be repaired and conserved with an NEA Our Town grant.
  • NEA Grants Shift from Censorship to Propaganda by Meghan Keane

    NEA Grants Shift from Censorship to Propaganda by Meghan Keane

    The National Endowment for the Arts: NEA Grants Shift from Censorship to Propaganda By Meghan Keane Summary: For decades the National Endow- ment for the Arts (NEA) has been caught up in controversy over its mission and its grantees. But this year for the fi rst time artists themselves are questioning whether they are being used by the agency to foster a political agenda. t’s amazing how quickly artists’ fear of government censorship evaporates when Ia candidate they support takes offi ce. In the late 1980s and 1990s the arts community vigorously protested when conservatives questioned whether the National Endowment for the Arts (NEA) should fund art works that many considered acts of blasphemy, obscen- ity and pornography. That was during the days when Andres Serrano dunked a crucifi x into a jar of urine and photographed it. The public was outraged to learn that the NEA provided a portion of the funding for a North Carolina arts group that celebrated Serrano’s work and awarded him $15,000. The arts community responded by screaming “censorship” over Wearing an “Obama is my home boy” tee shirt, former NEA communications direc- efforts to cut funding for these displays. It tor Yosi Sergant chats with President Obama. Sergant presided over a conference was equally outraged at the suggestion that call in which he pushed artists to produce pro-Obama propaganda. government policymakers should have a say took control of Congress in 1995 they cut Today the Obama administration is mov- in the content of their art work. Left-leaning the Clinton administration’s NEA budget to ing rapidly to increase next year’s federal arts groups said bureaucrats and congress- below $100 million for fi ve years from 1996 funding for the NEA.

  • 2019 Annual Report

    Dear Friends, October 13, 2020 In 2019, The Actors Fund helped 23,673 people Thanks to your support, The Actors Fund continues to be here for The Actors Fund has also initiated or enhanced programs that address nationally. everyone in performing arts and entertainment throughout their specific needs of marginalized groups. We have multiple groups to lives and careers, fostering stability and resiliency, and providing an provide Black-identified, Indigenous and non-Black POC entertainment Our programs and services ANNUAL REPORT essential safety net in these unprecedented times. professionals a space to affirm experiences and discuss the impact of offer social and health services, racial injustice, including: employment and training In this Annual Report, we look back at the assistance provided in 2019. programs, emergency financial 2019 We shine a light on our social services (p. 6), The Career Center (p. 8), • Healing with The Actors Fund Group for Black-Identified assistance, affordable housing, health care and insurance counseling (p. 10), housing (p. 12), senior Entertainment Professionals; and more. care (p. 14), financial wellness (p. 16) and young performers (p. 18). • Healing with The Actors Fund Group for Non-Black POC Among the ways we help is in the provision of emergency financial Entertainment Professionals; assistance and, in 2019, The Fund provided $2,078,707 for crucial • Black Entertainment Professionals Town Hall; and Mission needs. So far in 2020, with tremendous help from our many partners • Mind Body Spirit Group for Black Women in Entertainment. 85 CENTS OF The Actors Fund fosters and supporters, The Actors Fund has provided more than $16.6 EVERY DOLLAR million to over 13,700.