Arts Advocacy and the National Endowment for The

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Crawford Susan Wiener Dean o f the College Decem bers 2001 2001 American University Washington DC 20016 mmm imb?3ety ubrsrt Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 1407407 Copyright 2001 by Kang, Jungmo All rights reserved. UMI' UMI Microform 1407407 Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©COPYRIGHT By Jungmo Kang 2001 ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ARTS ADVOCACY AND THE NATIONAL ENDOWMENT FOR THE ARTS: FORGING AN EFFECTIVE PARTNERSHIP By Jungmo Kang ABSTRACT Arts organizations need government funding to accomplish their role in the society successfully. They have promoted the need through arts advocacy. The purpose of this study was how arts advocacy has supported the National Endowment for the Arts in order to understand the importance of advocacy to arts funding in the United States. Before the NEA was established, a few legislators and presidents tried to create federal funding for the arts. Since the NEA was formed, most chairpersons of the NEA have taken active arts advocate roles. In late the 1970s, several national arts advocacy organizations were established, and they made every effort to preserve the NEA when several crises struck the arts community in the 1980s and 1990s. Through these crises, arts advocacy organizations realized they needed 1) a united voice and 2) grassroot advocates. Now, they collaborate with each other and educate at grassroot levels to be effective arts advocacy. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT------------------------------------------------------------------------------ ii LISTS OF TABLES---------------------------------------------------------------------- iv Chapter 1. INTRODUCTION--------------------------------------------------------- 1 Lobbying in the United States---------------------------------------------- 1 Lobbying Laws----------------------------------------------------------- 4 Significance and Short History of NEA ------------------------------------ 5 History of Arts Advocacy--------------------------------------------------- 7 Statement of the Project ---------------------------------------------------- 8 Value and Importance of the Project ---------------------------------------- 9 2. ARTS ADVOCACY AND THE CREATION OF N E A -----------------11 The Chairpersons’ Role in Arts Advocacy and Establishment of Advocacy Organizations ------------------------------------------------------------------- 19 3. ADVOCACY EFFORTS TO PRESERVE THE NEA------------------- 28 Establishment of Congressional Arts Caucus and Arts Advocacy In i980s------------------------------------------------------------------------ 39 Responding to the NEA crisis -----------------------------------------------43 4. DEVELOPMENT OF ARTS ADVOCACY SYSTEM------------------50 Reauthorization and Restructure of the N EA ------------------------------- 50 Collaboration between Advocacy Organizations---------------------------- 56 5. CONCLUSION ------------------------------------------------------------- 67 Arts Advocacy for Arts’ Sake? --------------------------------------------- 70 Conflicts and Collaboration between Arts Advocacy Organizations 71 APPENDIX------------------------------------------------------------------------------ 75 BIBLIOGRAPHY----------------------------------------------------------------------- 77 ill Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF TABLES Table l ----------------------------------------------------------------------------------- 30 Table 2 ----------------------------------------------------------------------------------- 65 Iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 CHAPTER I Art organizations have served the public for many years and helped people experience spiritual fulfillment, and in turn depend on support from both the public and the private sectors to accomplish their role. Private-sector art organizations and their individual supporters have developed substantial expertise in lobbying public funding through political advocacy, one of whose form is lobbying. Lobbying in the United States Legislative advocacy, often called lobbying, is a specific form of advocacy. “It includes any attempt to influence the passage or defeat of specific legislation by presenting views to people who affect that process, including members of Congress, congressional staff, state legislators, or city council members.”1 The concept of lobbying can be found in the First Amendment of the Constitution which protects the rights of the citizenry to “petition government for the redress of grievance."2 Interest groups’ efforts to 1 John D. Sparks. Lobbying. Advocacy, «nd Nonprofit Boards (Washington. DC: National Center for Nonprofit Bonds, 1997), 5. 2 Constitution, 1st amendment Junes Madison, the one ofthe framers of the US constitution, defended the need for a strong federal government to act as an effective counterbalance. In The Federalist (No. 10), he wrote: “Among the numerous advantages promised by a well-constnicted union, none deserves to be more accurately developed than its tendency to bredt and control the violence o f taction... By a Action, I understand a number of citizens, who are united and actuated by some common impulse of paasioo, or o f interest adverse to the rights of other citizens, or to the permanent and aggregate interests o f the Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2 influence politics have expanded continuously throughout American history. Lobbying grew steadily since the New Deal o f the 1930s, paralleling the growth in federal spending and the expansion of governmental authority into new areas. Responding to the growth of lobbying, Congress has place restrictions on lobbying to prohibit significant impact on politics. In the 1970s, for example, a series of congressional reforms moved more power from chairperson to committee members, meaning that lobbyist would have to influence more congressional members and staff to get something accomplished.3 While lobbying has long been part of the political process in the United States, arts lobby is a late comer, starting in the late 1970s. In the arts field, service organizations like American Association of Museums (AAM) and American Symphony Orchestra League (ASOL) were organized in the early 1900s to gain wider support for the arts. AAM was organized in 1906, and ASOL was founded in 1942 and chartered by Congress in 1962.4 In addition, several arts supporting groups such as American Council for the Arts (ACA) and the National Assembly of State Arts Agencies (NASAA) were established to advance the cause of arts through research, forums, and other activities. The ACA was established to serve as a primary source of legislative news and as a leading advisor to arts administrators, elected officials, arts patrons and the public.5 The NASAA, founded in 1974, was the membership organization of the nation's state and jurisdictional

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