National Endowment for the Arts Annual Report 1975
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National Endowment National Council Annual Report for the Arts on the Arts 1975 National Endowment National Council Annual Report for the Arts on the Arts 1975 F’or sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 - Price $2.90 Stock No. 036-000-00031-7 National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the Na tional Council on the Arts for the Fis cal Year ended Jtme ¿0, 1975. Respecffully, Nancy Hanks Chairman The President The White House Washington, D.C. March 1976 Contents 2 Chairman’s Statement 60rganization 6 National Foundation on the Arts and the Humanities 6 National Council on the Arts 7 National Endowment for theArts 7 Federal Council on the Arts and the Humanities 8 National Council on the Arts 10 Architecture + Environmental Arts 18 Dance 26 Education 86 Expansion Arts 42 Federal-State Partnership 48 Literature 54 Museums 66 Music 80 Public Media 86 Special Proiects 92 Theatre 98 Visual Arts 112 The Treasury Fund 112 Contributors to the Treasury Fund, Fiscal Year 1975 110 Financial Summary Fiscal Year 1975 111 History of Authorizations and Appropriations Through Fiscal Year 1975 126 State Arts Agencies’ Chairmen and Executive Directors 130 Staff of the National Endowment for the Arts Chairman’s Statement In 1965 Congress "found and declared Attendance and participation in cultural that the encouragement and support of events are inereasing all over the national progress . in the arts, while eountry. Music festivals were sold out primarily a matter of private and local last summer. Broadway had its best initiative, is a]so a matter of concern to season irt years, and resident theatres the Federal Government." Those words across the land were busy. The American paved the legislative way to the creation Music Conference reported that of the National Endowment for the Arts three-fourths of all music retailers and its advisory body, the National enioyed substantially higher sales. Craft Council on the Arts. While this annual shows and art galleries were popular, report properly foeuses on our to mention justa few indexes. accomplishrnents in Fiscal Year 1975, the tenth anniversary offers a wider Yet this success poses a paradox: good perspective for this introduction, business in the arts is "oad business." The more successful ah orchestra becomes, In its ten years, the Endowment has for example, the larger its deficit grows: forged creative partnerships among state each concert costs more to present and local governments, community than ticket sales can recover. Earned organizations, individual artists, income rarely covers operating costs. producing companies, cultural ínstitutions and the federal government. That problem has existed throughout These partnerships were promoted by history; art often has not earned its way a wise provision in the law requiring that in the marketplace. For centuries ir most Endowment grants be matched relied on patronage, the benevolence of by money from other sources. Thus, a church or ruler; in the modern era it federal dollars spent for the arts has turned to generous wealthy patrons stimulate two or three from private for support: individuals, foundations cítizens, businesses, and state and local and corporations continue to build the governments. As a result, the arts have cultural resources of our nation today. In a broader base of support, with more this past decade the federal and state Americans involved in cultural activity at governments have recognized and all levels, shouldered their responsibility to serve as nonauthoritarian cata]ysts--to help The arts flourish in America today, in close the gap between earnings and part because of help fi’om all these expenses without ever dictating artistic sources. America has artists as great as policies. any in the world--because they have the innate talent to capita]ize on widening Ironically, the arts, though not self- opportunities, and because they ate supporting, are a fertile economic encouraged by the increased attention resource. In New York, the Mayox;s their work receives. We have cultural Committee on Cultuxal Policy reported institutions as fine as any that exist- that artistic and cultural activities because private efforts created them generate over $3 billion in expenditures and continue to sustain them, with and receipts annually. In Ashland, modest local, state and federal help. We Oregon, a town of 10,000, the Oregon have a public that hungers for the arts Shakespearean Festival provides 400 iobs and participates in cultural events--a lar and attracts 200,000 visitors. The larger and more active audience than Chicago Chamber of Commerce called ten years ago. the city’s major cultural institutions "the most important tourist attraction we have." In Philadelphia, 50 cultural organizations serve 13 million people a year, 10 million more than attend professional sports events there. In Atlanta, Galveston, Denver and elsewhere, new arts facilities are focal points for urban revitalization. "’It is not surprising that there is an Achieving the Endowment’s Goals increasing public interest in the arts," wrote a friend of the arts recently. The following brief review shows how "They enhance the quality of life, the Endowment’s grants and programs renew the senses, remind us that we are have worked toward achieving the vital. We have begun to reevaluate Endowment’s three goals: their importante, to accept without apology their ability to quicken the mind Improved Aecessibility of the Arts--to and refresh the spirit, to regard them promote broad dissemination of cultural notas a privilege of the few but as resources of the highest quality a right of the many--the pursuit throughout the United States. of happiness." Almost hall the Endowment’s budget in When Thomas Jefferson coined that 1975 supported projects designed to last phrase 200 years ago could he have make the arts more widely available. had the arts in mind? I think so, and Some projects involved taking a it is certainly fitting that the arts will performing group, such as ah opera play a central role in the bicentennial company, to a city where a known celebration next year. Toward this end, audience exists. Others involved offering the Endowment awarded more than isolated or insulated communities 1,000 grants in 1974 and 1975, totaling (whether rural or inner-city) new more than $27 million, which will opportunities of expression through folk have direct impact on the bicentennial arts of expanded hoñzons near borne. and lasting effect on the country. Some examples: Such work began during the ¯ Boston’s development of a city-wide Endowment’s first year when we network of paths to help both visitors supported touring by music, theatre and and residents alíke in the discovery of dance companies, when plans were laid hístoric Boston. This is one of 80 projects for programs in broadcasting and film, that enable communities to enhance when the forerunner of the Education their physical environments while Program was launched, when the first focusing on local heñtage, efforts were made to expand museums’ ¯ Creation by Alvin Ailey of two major services and place works of art in works to the music of Duke Ellington. public places. Some examples: ¯ Special efforts by arts agencies in 31 states to make the arts important parts of In 1966 Martha Graham considered eelebrations in those states, moving to Europe where her company ¯ Cooperative commissions by groups of hada better chance of economic major symphony orehestras for the survival. Instead, ah Endowment grant creation and performance of 16 new enabled the troupe to make its first works by American composers, national tour in 15 years and perform in 32 American cities, tñggering a Sueh proieets will live long after the nationwide explosion of interest in dance, bicentennial year. still our fastest growing performing art. Today the Dance Touring Program is As we look fol~¢ard to the opening of admínistered cooperatively by the the Endowment’s second decade and the state arts agencies and the Endowment. nation’s third century, the need is The federal contribution amounts to unmistakable for continued federal $3.6 million this year and each federal support of the arts. dollar generates between $4 and $5 in local matching funds. This year 94 companies toured in all 50 states and two special juñsdictions for an aggregate of more than 400 weeks. Similarly, we promote touring by opera The Endowment’s Art in Publíc Places companies, orchestras, museum exhibíts, proiect, under the direction of our architectural and design shows, jazz Visual Arts Program, has helped place groups and theatre groups. For the paintings and sculpture in 37 states second year we assisted "tour events" where they ate enioyed by uncounted under the aegis of Expansion Arts. That people conducting their daily affairs. involves bringing arts groups ínto urban, suburban and rural areas where The Federal-State Partnership Program access to the arts has been difficult or administers bloc grants to the arts limited. Thus lar, groups from 25 agencies of the fifty states and five states in four regions have been special iurisdictions. The first state brought together to exchange ideas and grants, of $25,000, supported surveys of talent. Expansion Arts also works "in cultural resources; this year the bloc place," helping local groups encourage grant to each state was $200,000. Sub the creativity of local people, stantial Endowment funds also go to the states through a variety of other programs Thirty-two state and regional arts that help local program development, agencies have, with support from the strengthen community services, provide Endowment’s Public Media Program, liaison among the states and serve a produced films which focus on local number of other ends.