ED 058 206 INSTITUTION PUB DATE EDRS PRICE DESCRIPTORS IDENTIFIERS the Arts ABSTRACT

DOCUMENT RESUME

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TITLE 1970 Annual Report [of the] National Endowment for the Arts [and the] National Council on the Arts. INSTITUTION National Council on the Arts (NFAH), Washington,. D.C.; National Endowment for the Arts, Washington, D.C. PUB DATE 70 NOTE 72p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402 ($1.00)

EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS Annual Reports; *Art Activities; Creative Art; Creative Writing; Federal Programs; *Financial Support; Fine Arts; *Humanities; *Literature; Mass Media; Music; Periodicals; Poetry; Professional Personnel; *Theater Arts IDENTIFIERS National Council on the Arts; National Endowment for the Arts

ABSTRACT This document describes the activities and programs of several national agencies for the arts. It discussesthe following branches of the arts: architecture, dance, education, literature, music, public media, theatre, and visual arts. It also discusses the financial status of these agencies and public and private contributions to their funds. In the field of literature, the program in support of poets who work in schools reinforcing theteaching of English was expanded. The Poets in Developing Colleges Program has placed black writers in residence on campuses, primarily in Southern states, and the program has helped to produce good student poets.The Coordinating Council of Literary Magazines has made 203 grants to 152 magazines and has organized 21 activities intended to improve the content, production, and distribution of non-commercial literary magazines. Discovery Awards were made to 41 young or relatively unknown writers who were regarded as having exceptional talent. In the field of education, the Visual Artists-in-ResidenceProject placed artists in six schools, and the Artists-in-the-Schools program utilized 300 dancers, musicians, poets, theatre artists, painters, and sculptors in bringing the arts directly to elementary and secondary school students in 31 states. (CK) 1970 Annual Report National Endowment For iThe Arts National Council On The Arts A

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Dear Mr. President: I have the honor to submit to you the annual report of the National Endowment for the Arts and the NaVonal Council on the Arts for the fiscal year ended June 30, 1970. Respectfully, ...------e--.G1--1.--....7

Nancy Hanks Chairman The President The White House Washington, D.C. Contents

The National Foundation on the Arts and the Humanities 4 The Federal Council on the Arts anu the Humanities 4 The National Council on the Arts 4 The National Endowment for the Arts 5 Panel Members and Consultants, 1970 5 Foreword 6 Architecture, Planning and Design 10 Dance 14 Education 20 Literature 26 Music 32 Public Media 38 Theatre 44 Visual Arts 50 Coordinated Programs 54 Federal-State Partnership 55 The Treasury Fund 56 Contributors to the Treasury Fund 57 Authorizations and Appropriations, 1966-1971 59 Financial Summary, 1970 60 Grants, 1970 61 Staff 73 The National Foundation On The National Council The National Council The Arts And The Humanities On The Arts On The Arts The National Foundation on the Arts and The National Council on the Arts is February 1971 the Humanities was established as an composed of the Chairman of the National Nancy Hanks, Chairman independent agency of the Executive Endowment for the Arts, who serves as Maurice Abravanel Branch of the Federal Government by the Chairman of the Council, and 26 private Marian Anderson National Foundation on the Arts and the citizens, appointed by the President, who Jean Dalrymple Humanities Act of 1965. The Act, Public are widely recognized for their broad Kenneth N. Dayton Law 89-209, was amended by Public Law knowledge of the arts, or for their experi- Charles Eames 91-346 in 1970. ence or their profound interest in the arts. Duke Ellington The National Foundation is composed of The Council advises the Chairman on O'Neil Ford the National Endowment for the Arts arid policies, programs and procedures and Virginia B. Gerity the National Endowment for the Humanities. reviews and makes recommendations on Lawrence Halprin The two Endowments, advised by their all applications for financial assistance Huntington Hartford respective Councils, formulate their own made to the National Endowment. Charlton Heston programs, but share an administrative staff. In addition to the individuals listed here, Richard Hunt The Federal Council On a number of distinguished Americans were James Earl Jones members of the Council for all or part of Harper Lee The Arts And The Humanities the period under review. Robert Berks, Charles K, McWhorter The Federal Council on the Arts and the Paul Engle, R. Philip Hanes, Jr., Ruth Jimilu Mason Humanities, also established within the Carter Johnson, Oliver Smith, Isaac Stern Robert Merrill National Foundation on the Arts and the and George Stevens, Sr. served on the Gregory Peck Humanities by the Act of 1965, is composed Council until their terms expired in Rudolf Serkin of the Chairmen of the two Endowments, September 1970. Albert Bush-Brown Beverly Sills the United States Commissioner of resigned from the Council in May 1970 and Edward VIllella Education, the Secretary of the Smithsonian Sidney Poitier resigned in October. E. Leland Webber Institution, the Director of the National Donald Weismann Science Foundation, the Librarian of Nancy White Congress, the Director of the National 10' Robert E, Wise Gallery of Art, the Chairman of the Com- e , mission of Fine Arts, the Archivist of the United States and a member designated by i 177.:'' the Secretary of State. The Federal Council advises the Chairmen of the two Endow- ',' , ',1 ments on major problems, coordinates their policies and operations, promotes coordination between their programs and those of other federal agencies and plans and coordinates appropriate participation in major and historic national events. M 3A111111)(151111r...

11. Some members of the National Council on the Arts, taken at its 19th meeting held at Tarrytown, New York, Photographs by Mel Davis,

4 The National Endowment National Endowment MUSIC National Endowment For The Arts Peter Mennin, Chairman For The Arts For The Arts Willis Conover The National Endowment for the Arts, an Panel Members Donald Engle Consultants agency of the Federal Government, carries Fiscal Year 1970 Roger Hall Fiscal Year 1970 out programs of grants-in-aid given to arts ARCHITECTURE, PLANNING David C. Sennema agencies of the states and territories, to ARCHITECTURE, PLANNING AND DESIGN William Severna non-profit, tax-exempt organizations and to AND DESIGN William Brubaker Robert Shaw Paul Spreiregen individuals of exceptional talent. Jay Doblin C. Michael Steinberg EDUCATION The Endowment is headed by a Allan B. Jacobs Shirley Verrett Gibson Danes Chairman, nominated by the President and Norman Klein Opera/Orchestra confirmed by the Senate. Miss Nancy James A. Labrenz Harry Holtzman Donald Engle, Chairman Kenneth Koch Hanks was sworn in as Chairman on John A. Parker Maurice Abravanel Peter Marin October 6,1969. Harry W. Porter, Jr. A. Beverly Barksdale Grants by the Endowment to the states Jack Morrison Alan Y. Taniguchi Peter Mennin and territories are made in accordance Gene Tepper Max Rudolf LITERATURE with the terms set forth in Public Law Carl D. Brandt DANCE William Severns 89-209, as amended, and are administered Carolyn Kizer Roger Englander, Co-Chairman Jazz by the individual arts agencies. The Willis Conover, Chairman MUSIC Endowment's own programs are developed Deborah Jowitt, Co-Chairman Bill Evans Douglas Richards by the Chairman and the staff, with the William Bales John G. Gensel advice of the National Council on the Arts. George Beiswanger PUBLIC MEDIA Milton Hinton As a general rule, applications for grants, Harry Bernstein David Stewart Anthony Bliss Dan M. Morgenstern which fall within the established programs Russell Sanjek STATE AND COMMUNITY of the Endowment, are referred to panels Selma Jeanne Cohen OPERATIONS of experts chosen from all regions of the Martha Hill Davies STATE AND COMMUNITYJames Braver United States. The recommendations of the Agnes de Mille OPERATIONS Agnes de Mille panels are brought before the National Richard Englund Ralph Burgard Robert Marchand Council for review, and to the Chairman Allegra Fuller Snyder Paul Hume Stephanie Mayer for final determination. LITERATURE George Irwin Aiwin Nikolais D/scovery Awards Robert Wykes Frances Poteet Ronald H. Bayes THEATRE Gus Blaisdell Resident Professional Marl Evans Robert Crawford, Chairman Roderick H. Jellema Earle Gister Frank Mac Shane Oliver Rea Frederick Manfred Sandra Schmidt Howard McCord Alan Schneider Jarvis Thurston Experimental and Workshop Poetry-in-the-Schools Harold Clurrnan, Chairman Carolyn Kizer John Lahr Maxine Kumin Leo Lerman Stanley Kunitz Robert Pasolli Howard Nemerov VISUAL ARTS Anne Sexton Museum Purchase Plan Louis Simpson James Demetrion A. B. Spellman James Hese Rine Mark Strand Henry Hopkins Galen Williams Walter Hoops Gerald Nordiand Daniel Robbins Artists' Fellowships William Seitz, Chairman James Camp F. Van Deren Coke Sam Gilliam James Meichert James Speyer

5 Foreword

President Nixon, in his State of the Union a supplemental appropriation, by a transfer were sent to the White House in support of Message of January 22, 1970, said: "The of $900,000 from the United States Office the message. It was reprinted in full by seventies will be a time of new of Education and by increased donations many newspapers and carried as an beginnings.. . ." to the Endowment, which released advertisement, paid for by enthusiastic One of these new beginnings, In 1970, equivalent sums from the Treasury Fund. citizens, in others. It was praised in lead was significant and increased public Thanks to these funds, the Endowment editorials in newspapers published in our largest cities and our smallest towns. Bills support for the arts. was able to obligate $12,982,667 in The arts in 1970 reached out for new support of arts programs in Fiscal 1970, to extend the life of the National Founda- and larger audiences and were confronted as against $6,370,639 in 1969. tion were introduced in the Senate and in by increased financial needs. Our govern- The public law under which the Endow- the House of Representatives, and were ment responded to these needs by making ment operates was due to expire on June sponsored by many members of both additional funds available to the National 30, 1970. In proposing that the Congress political parties. In testifying before the Endowment for the Arts in Fiscal 1970 and re-authorize the Endowment, the President, Joint Subcommittees of the Senate and by authorizing a further expansion of the in his Special Message of December 10, House in January 1970, I was able to state Endowment's programs in 1971, 1972 1969, proposed a further expansion of the that, "... we have today for the arts, and for the humanities, what we had in only and 1973. Endowment's programs. He asked the A sharp rise in funding for the Endow- Congress to extend the legislation creating small measure in the pastthe leadership ment in Fiscal 1970 was made possible by the National Foundation on the Arts and of the Congress and,of the President, and the Humanities, of which the Arts Endow- the enthusiasm of the people." ment is one of two components, for three In hearings held in January and February years beyond its termination date. He every aspect of the arts and thehumanities added, "I propose that the Congress programs was reviewed. These hearings approve $40,000,000 in new funds for the were followed by the Committeereports. National Foundation in fiscal 1971 to be The House Committee on Education and available from public and private sources." Labor held that: The President's message was greeted "In sum, Federal assistance for the arts by a prompt and overwhelmingly favorable has proved itself, and public arts funds, response. Over 5,000 letters and telegrams so new a concept in the 1.960's, mustplay an even more significant rolein the decades ahead." The Committee, with only three dissenting votes, proposed that the National Founda- tion be re-authorlzed at the level recommended by the President. The Senate Committee on Labor and Public Welfare, by a unanimous vote, recommended re-authorization for the National Foundation at three levels of funding: $40 million for both Endowments in Fiscal 1971, $60 million for Fiscal 1972 and $80 million for Fiscal 1973. It recommended further that state arts councils be given $75,000 per state In Fiscal 1971, $100,000 per state in Fiscal 1972 and $125,000 per state in Fiscal 1973. A bill embodying these provisions passed the Senate by a voice vote on May 21, 1970. A similar but not identical bill passed the House on June 30 bythe gratifying margin of 262 to 78. In a separate action the House and Senate assigned to work in 260 school districts in strengthen the arts. Recognition of artistic approved appropriations for the National 31 states during the 1970-1971 school merit, and of the contributions made by Endowment for the Arts of $3,465,000 for year. the arts to our nation, is important. National Programs, $4,125,000 for State These programs, and many others, were President Nixon, in 1970, once again Programs and $2,500,000 for the Treasury made possible by the increased funds demonstrated his understanding of this Fund for Fiscal 1971. This level of funding available to the Endowment. Substantial point by undertaking on many occasions was almost double the sum available to as they are, however, these funds are still to honor and to endorse the arts. The the Endowment in 1969. small in relation to the needs of the arts. Endowment is indebted to the President With the support of the Congress, the An important purpose of the Endow- and to Mrs. Nixon for their leadership. We Endowment and its advisory body, the ment's grants is to generate increased are indebted also to the National Council National Council on the Arts, set three income from many sources for the arts. on the Arts for its indispensable advice and goals for the next three years: This purpose was written into the National support. The terms of seven Council To encourage broad dissemination of the Foundation on the Arts and the Humanities members expired in 1970. They were best of American arts across the country; Act of 1965 by the Congress in the Robert Berks, Paul Engle, R. Philip Hanes, to work toward solutions of some of the provision creating the Treasury Fund. By Jr., Ruth Carter Johnson, Oliver Smith, core problems that plague arts institutions matching, from federal sources the contri- Isaac Stern and George Stevens, Sr. Two in their efforts to provide greater public butions made to the Endowment on behalf Council members resigned during this services; and of the arts, the Fund serves to generate period, Albert Bush-Brown and Sidney to provide support that encourages increased support for the arts by founda- Poitier. These Council members contributed creativity among our most gifted artists and tions, corporations and individuals. It is greatly to the Endowment, and we look to advances the quality of life in our nation. of the greatest importance to the Endow- them for continuing advice and support. In two programs in particular, 1970 was ment and to the arts that it should succeed. notable for the progress that was made For that reason, I was particularly grateful Nancy Hanks toward these goals. when in 1970, some 360 donationsover Our leading symphony orchestras in the 150 more than the total number received 1969-1970 season played 70 percent of during the prior four yearswere accepted their concerts for the general public or for by the Endowment. educational purposesa dramatic change The financial needs of the arts are a from the performance schedules of only a primary concern of the Endowment. But, few short years ago. The image of the the provision of funds is by no means the orchestra's audience as an elite and only way in which government can affluent group is simply not valid. In reaching out for new and larger audiences, the orchestras needed and deserved public support. The Endowment had no program in support of our symphony orchestras in Fiscal 1969. By July 1970, a new program was in operation under which 73 orchestras in 38 states are receiving grants in the 1970-1971 season. Our schools in 1970 came under continuing criticism as joyless places in which the natural curiosity and creativity of children are dampened by adherence to established and often outworn routines. In an effort to bring new vitality intoour school system the Endowment, with the aid of funds transferred from the Office of Education, helped to place working artists

in six secondary schools during the _ 1969-1970 school year, The program was highly successful and led in Fiscal 1970 to the transfer of an additional $900,000 to the Endowment from the Office of Educa- tion. This transfer made it possible for over 300 dancers, musicians, writers, theatre artists, painters and sculptors to be

Architecture, Planninj And Design

Los Angeles Grants made by the National EndowmentDevelopment, was given a grant to expand Photograph by William A. Garnett. inFiscal 1970 in Architecture, Planning the ideas contained in this work into a full- and Design were largelyinsupport of lengthmanualfor professionaluse by student research and of design projectsarchitects, landscape architects and civil which were closely related to our develop- engineers. Current techniques in gathering ing environmental needs. the basic data concerning soil and other elementsthatmust be consideredby Environmental Design planners have lagged behind the current In November 1968, the Endowment an- rates of land development and suburban nounced its first annual program of grants growth. The grant to Mr. Way will,itis in the field of Environmental Design. Indi- hoped,providedesigners and planners vidual,non-matchinggrantsofup to with a means of obtaining data with greater $5,000 and institutional, matching grantsaccuracy and speed. of up to $10,000 were offered for "pro- Children in Cities: Michael Southworth, a posals which hold promise of advancing graduate student in the Department of City and broadening the nation's capabilities inPlanning of the Massachusetts Institute of environmental design." Technology, was awarded a grant to pre- Announcements of this program werepare an information system through which carried in professional journals during the children may be aided in their discovery of winter of 1968-1969. By March 1969, 249 the cities in which they live. He began with proposals had been received. These were the assumption that: "Today's city has few reviewed in May by an evaluation panel ofplaces whichhave been designedfor experts drawn fromallregionsof the children's needs. It is an unfriendly place, nation. On the basis of the panel's recom-unaware of their physical presence and mendations, in which the National Council on the Arts concurred, environmental de- attilt, S. sign grants were awarded to 36 individuals acItt?'+'4. and to 12 organizations. All of these are listed in the appendix to this Annual Re- port. Some, for purposes ofillumration, are described below: Furniture for Low-Cost Housing: Mrs. Erma B. Striner, a Lecturer in Interior Design at the University of Maryland, undertook her study in the belief that architects and city planners have neglected the interiors of low-cost, inner city housing projects. She held further that there has not been on the market aline of furnituremeeting the Alf 1111:_ needs of inner city residents. She felt that new materials should be used in the production of items such as cribs, bunk beds, trestle tables and storage cases, and that training courses should be developed in space planning and in the design, production and marketing of furniture suited to inner city needs. Mrs. Striner's study, Low Cost and Livable, was completed in 1970 and led, among other developments, to a national furniture design competition, 4,:qr sponsored by the Washington Center for !vie Metropolitan Studies as part of a $90,000 research grant from the Department of Housing and Urban Development. "Tot Lot": a model for a small playground de- Aerial Photography: Douglas Way, an In- signedfor pre-school children.Dennis and structorand aResearchAssociateat Richmond Streets, New Brunswick, New Jersey. Harvard's Graduate School of Design and Photograph by Paul Ryan, courtesy of America co-author of Visual Analysis of Landscape the Beautiful Fund.

10 unresponsive to their attempts at modifying activities formed the basis of his full-length tecture, planning and design to advocate it." He suggested that cities could con- report: An Urban ServiceforChildren specific solutions for the improvement of struct information systems for children in- Based on Analysis of Cambridgeport Boys' our physical environment. Twenty "seed" cluding"explorationtrailspaintedon Conception and Use of the City. Mr. South- grants were made by the Fund, with the sidewalks,five-minute filmloops,sonic worth is now working on the application of assistance of the Endowment grant;in messages, child-oriented maps and signs, his ideas with the Mayor's Office on Cul- almost every case these grants ledto a children's caravan theater, viewing tubes turalAffairs of the City of Boston, the further actions by local authorities. Among and periscopes to provide visual access to Boston Children's Museum, the Model the 20 grants were the following: inaccessibleplaces,city observatories" Cities Programs of Boston and Lowell and Mill River, Massachusetts: A study of pol- and other devices tostimulate and to the Massachusetts Institute of Technology. lution in the River, with funding matched satisfy the curiosity of children and their Grants to institutions under the Environ- by Smith College, was followed by the needsforadventure andactivity.Mr. mental Design Program included a match- creationof conservation commissions to Southworth's study, supported also by a ing grant of $10,000 in federal funds given help improve the environment; grant from the National Science Founda- to the America the Beautiful Fund of the Spanish Harlem, New York: A design proj- tion, was undertaken with the active par- Natural AreaCouncil.This organization ect,also supported by a localcultural ticipationof 28 boys in Cambridgeport, makes small "seed" grants to young pro- group, will,itis hoped, lead to the con- Massachusetts. Their attitudes and their fessionals in architecture, landscape archi- struction of a festive plaza for this community; St. Bernard Parish, Louisiana: A grant to a University of Louisiana student, matched by Parish officials, led to the formulation of a master park and recreational plan for the Parish; TraverseCity,Michigan: A grant toa Michigan State University School of Urban Planning and Landscape Architecture student,supplemented by fundsfromthe Peninsula Township, led to the formulation of a land use plan for the Old Mission Peninsula, an area of beautiful natural sites now under pressure for development; Madera County, California: A grant supplemented local support for "Project Hellfire," an effort to find new solutions for solid waste disposal through the demonstration ofunderground combustion techniques; and TualatinValley,Oregon: A study,also sponsored by Oregon State University, resulted in a comprehensive land use and preservation plan for the Tualatin Valley. Student Research Grants A program in support of fellowships for students of architecture, landscape architecture,planning and design was supported for the third year in Fiscal 1970. Awards of $500 were given to 125 students in schools in which these disciplines are taught. Grants were given for travel, or for the study of a particular region and its indigenousarchitecture.Students were selected by faculty members and were required to prepare reports for the Endow- transit ment and for their schools. Grants were 1708 made under this program to 125 students Exploring the City: a diagram illustrating Michael Southworth's proposal for making cities more in 79 colleges and universitiesin Fiscal ; hospitable for children. 1970.

I Dance

Members of the Paul Taylor Dance Company An article on ballet, in the Newark Sundayfunds would be matched by private contri- In Aureole. Star-Ledger of October 18, 1970, spoke ofbutions drawn from new sources. "the burgeoning realmof great dance- It was hoped that grants of $133,333 theatre." couldbe given under this programto For the American dance world, thisis threecompanies:the AmericanBallet certainly a time of rapid expansion and ofTheatre, the City Center Joffrey Ballet and intense creativity. It is also a time of acute the New York City Ballet. In fact, due to a financial need. shortage of Endowment funds, two com- The need is measured not only in termspanies agreed to postpone the schedules of the costs of mounting new productions set for two of the three commissions. An and of presenting them to the new and initial grant of $20,000 in Fiscal 1970 made young audiences throughout the countryit possible for the City Center Joffrey Bal- which are clamoring to see them. It is re- let to start on the choreography of a new flected in the income received by dancers production: Beauty and the Beast. A grant during professional careers which are longof $133,300 to the American Ballet Theatre in preparation, and very brief in their span. enabled this company to prepare tour new There were 100 professional dance com- productions: Gaité Parisienne, Petrouchka, panies in the United States in1970, ac- Traitor and The River. Clive Barnes, writing cording to the Association of American in the New York Times, felt that the appeal Dance Companies.In11leading com-of Gaité Parisienne as a dance work had panies, according to data gathered by thefaded. Of Petrouchka, he wrote: "I have NationalEndowment,dancers received never seen a better-looking Petrouchka. average incomes ranging from $2,775 to Itis a joy from start to finish."Traitor, a $8,528 a year. work by Jose Limon, was well received The dance programs of the Endowmentwhen it was presented on tour by the com- in Fiscal 1970 were shaped by these cir-pany. A performance of the unfinished new cumstances. They were intended to stimu- ballet,The River, with a score by Duke late creativity; to build new audiences forEllington and choreography by Alvin Ailey, the dance; to strengthen the financial andwas first presented by the American Ballet organizational structuresof dance com-Theatre at Lincoln Center in June 1970. panies;toassistregionalcompaniesMr. Barnes described the ballet-in-prog- through professionally led workshops andress as a "major work" in which "almost to offer professional performances to re- surprisinglybeautiful" dancing was ac- gions and to communities which have notcompanied by music that was "marvelous had the opportunity of seeing the dance . . . contemporary, moving and yet totally at first hand. unsentimental." Commissions tor New Productions The Corbett Foundation ofCincinnati From Fiscal 1966 through Fiscal 1969, themade a $5,000 donation to the Endowment National Endowment awarded 22 grants to enablingtheEndowment toaward a individual choreographers and an addi-$10,000 Treasury Fund grant to the Ameri- tional four to dance companies to createcan Dance Foundation in support of the and to rehearse new works. Many of these production of Pagan Spring by Eliot Feld's works are now established incompanyAmerican Ballet Company. repertoires. Touring In 1969, in response to the urgent needsThe Coordinated Residency Touring Pro- of large companies, a new program wasgram, initiated as a pilot project in Illinois prepared. It was understood that the costin 1967, was extended in Fiscal 1970 to of mounting new productions had sharplysix circuits covering 22 states. Under this risen, and might range from $50,000 toprogram, Endowment funds are used to over $300,000. It was understood also thatprovide one third of a guaranteed fee paid the dance has received inadequate sup-by local sponsors to two or more dance port from private sources and that the largecompanies for engagements which last for companies have rarely undertaken fundat least halfa week each. During this drives. For these reasons, theNational period,thecompanies providemaster Council January 1969, recommended classes, workshops and demonstrations as that the Endowment establish a program of well as performances. Endowment grants Challenge Grants for new productions byare made to state arts councils for inter- major dance companies in which federal statecircuits,and cooperation between

14 *IS,..

circuits as well as bookings are worked out the Krannert Center forthe Performing other three," the Times adds, "the Joffrey by a national coordinator. Arts in Urbana, at Lewis College in Lock- has a feel for the present . ..a certain The Fine Arts Council of Florida acted as port and at Rockford College. The Com- sensibility toward contemporary fashion... the grantee for the Florida circuit in 1970; pany made sixappearances inschools that is all the Company's own." the Maine State Commission on the Arts and colleges in the Chicago area, includ- In1970, as part ofitsfourth annual was the grantee for Connecticut, Massa- ing a day spent at the Highland Park High summer residencyin the Northwest, the chusetts, Maine and Rhode Island. The School. There, before a crowd of 1,500Joffrey company conducted an intensive Maryland Arts Council acted as granteestudents, the Company, in the words of six-week training program at Pacific Luth- for Maryland, New Jersey, North Carolina, the Deerfield Review, "beamed a ray of eran University in Tacoma. Fifty-six young Pennsylvania, Virginia and the District of sunshine on the bare auditorium stage...." dancers from the West Coast, selected as Columbia; the Oklahoma Arts and Humani- The program began with warm-up exer- winners of scholarship competitions, ties Council for Oklahoma and Missouri. cises, accompanied by a narration dealing worked with the company and were pre- The Utah State Institute of Fine Arts acted with Louis' concept of the nature and pur- sentedin a special performance. During as grantee for California, Colorado, Mon- pose of dance. Movements were shown, the residency, the company also toured, tana and Utah; the Michigan State Council repeated and explained, and a portion of presenting performances in Boise, Tacoma, on the Arts for Illinois, Indiana, Michigan, one work, Proximities, was performed three Portland, Seattle,Walla-Walla and other Minnesota and Wisconsin. times, once without musical accompani- communities in the Northwest. Ten dance companies took part in the ment. The Deerfield Review commented: In addition to this program, the donation Residency Touring Program in Fiscal 1970. "Far from being dull, it was a lovely visual of $125,000 to the Endowment on behalf They were the Alvin Ailey American Dance experience, standing on its own as whimsi- of the City Center Joffrey Ballet permitted Theater, Merce Cunningham and Dance cal, lyrical . . . expression." Finally, the a Treasury Fund grant of $250,000 to be Company, the First Chamber Dance Com- entire work was presented. By then, as the made to the company in Fiscal 1970. Fol- pany of New York, the Lucas Hoving Dance Review noted,"It was familiar and the lowing its residency in the Northwest, the Company, the Pearl Lang Dance Company, students applauded warmly." company toured in residencies for several the Jose Limon Dance Company, the Mur- The usefulness of this kind of presenta- weeks in Los Angeles, Berkeley, Chicago ray Louis Dance Company, the Nikolais tion was summed up by The Boston Herald and New York. Dance Theatre, the Don Redlich Dance Traveller,in describing the New England The American Ballet Theatreis char- Company andthePaulTaylorDance circuit of the Dance Residency Program: acterized by the Wall Street Journal as "a Company. "One of the values in the Residency Pro- superb and exciting company, one of the InIllinoisto take one examplethe gram is that it urges participation, not just world's great dance organizations."Itis Murray Louis Dance Company appeared at through master classes and the like but known for its breadth of repertoire and for participation for non-dancers as well. ... its determination inbringing the best of A spectator does not have to be someone American dance to audiences in all re:lions who sits and stares straight ahead (the of this country and throughout the world. universal television phenomenon); he can Since its formation in 1940, the company be someone who knows and feels and is has performed in 420 cities in 43 countries open to the experience of another's cre- and in all of our states. ativity; he can resist the great 20th-Century A grant of $120,000 in Fiscal 1970 sup- rush towards dehumanization; he can take ported the American Ballet Theatre inits part." 1969-1970 touring season. The tour was a The Pacific Northwest Ballet Association critical and a popular success, with sold- was given grants of $100,000 and $95,000 out performances in Arizona, in Texas, in for its summer programs in 1969 and 1970 California and in new institutions such as as part of the Endowment's plan to bring the Krannert Center in Urbana, Illinois. In largedancecompaniestoaudiences cities such as Denver, Chicago and St. throughout the United States. The Associ- Louis, the company drew audiences sub- ation,anon-profit organizationserving stantially larger .han in prior years. In Los Idaho, Oregon and Washington, sponsored Angeles,SanFrancisco,Chicago and the City Center Joffrey Ballet in summer Urbana, the company appeared in short residencies in regional tours. residencies, adding demonstrations and The City Center Joffrey Balletis de- exchanges with local dance companies to scribed by the New York Times as "the its schedule of performances. The purpose next to youngest of America's four im- of these activities,as the Ballet Theatre portant classic dance companies... ." The Foundation explained, was to make local companyiseclectic,performingworks dance companies "feel that we are there created by many choreographers and pre- not to demonstrate their shortcomings, but Members of the American Ballet Theatre sented by many companies over the his- to help them achieve as high a level of in The River. tory of the dance. "More than any of the excellence as they can."

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7. Despite itsenthusiastic reception, the Fund grant of $50,000 in Fiscal 1970. The Craft of Choreography Conferences held American Ballet Theatre operated undergrant enabled the Martha Graham Com- inthe summers of 1969 and 1970.In mounting financial strain in its 1969-1970pany, founded and led by the most re- recognition of the importance of the na- season. Costs were rising more rapidly nowned of modern dancers, to present its tionalgrowthof community-based civic than box office income. The financial base 1970-1971 season. The season opened on and regional performing companies, the of the company was narrow. Salaries paid October 2, 1970 at the Brooklyn Academy Endowment has supported the costs of a by the American BalletTheatretoits of Music and continued in a cross-country professional staff of choreographer, dancers were comparable to those paidtour which included university and college teacher, technical director, music director by other leading companies. Yet, as an engagements in which classes and demon- and nationaldirector to conduct week- article in the Wall Street Journal of Junestrations were presentedinaddition to long craft of choreography workshops in 16, 1970 noted: performances. four regions of the country. These workshops are attended by artistic directors of "At present American Ballet Theatre prin- The repertory for the tour included four community dance companies. The Endow- cipal dancers.. . earn anannual income works which had not been seen for over ment made grants of $16,200 and $17,050 that averages below $8,000; soloists aver- 15 years. The demand for tickets by stu- age about $5,500, and the corps de ballet dents was a notable feature of the tour. As in support of these workshops. The 1969 the New York Times reported: "For an workshops were attended by 302 partici- below $5,000. These are dedicated artists, pants from 74 companies and schools; many with families to support, and merely entire generation that has missed the re- enrollment was increased in 1970. considering that they are committed to a vivals presented this season .. .the cur- discipline more demanding than that of rent engagement has served as a crash Services to the Profession any athlete, the pay levels are ludicrous." coursein Graham choreography of 30A review by the Endowment of the ex- The management of the company shared years ago." penses and incomes of leading dance this view and in 1970, undertook to raisaWorkshops companies led to a belief that many of The Endowment,inFiscal 1970, made these companies have been unable thus the salaries of its dancers and to provide in funding them with 36 weeks employment each year.grants to five organizations which provide far to develop their potential The National Council on the Arts, inits summer training in the dance: from private donors. Grants were therefore May 1970 meeting, recommended addi-Ba //et West, a classicalballet company made in Fiscal 1970 to two leading com- LakeCity, was given panies under a pilot program of support for tionalsupportfor theAmericanBallet residentinSalt Theatre for its 1970-1971 season, in which $14,000 in support of two seasons of per- Directors of Development. The grants, of the company will present short residencies formances and training programs for area $16,700 apiece, were structured to pay or performances in 14 cities. A donation students; one in Albuquerque and one in two-thirds of the salary of the directors in of $250,000 to the Endowment on behalf Aspen. the first year of their employment and one- of the company freed an equivalent sum Connecticut Co//ege was given $25,000 for half in the second year and to be phased from the Treasury Fund. its American Dance Festival, a summerout in the third year. The American Dance Foundation is thesession in which performances and train- The Brooklyn Academy of Music has sponsoring organization for tF;e American ing are combined. The resident companies provided resident services for three dance Ballet Company, founded in 1969 by Eliotat the 1970 Festival included those led by companies led by Alvin Ailey, Merce Cun- Feld. Mr. Feld, who first danced with the James Cunningham, Martha Graham, ningham andEliotFeld. The Academy American Ballet Theatre, is described by Lucas Hoving and Meredith Monk. offers storage and office space to these the New York Times as "the first majorDance Theater Workshop held perform- companies in addition to offering full per- in AmericanchoreographersinceJerome ance seasons in the Manhattan School offormance seasons, and assists them Robbins." His company is characterized by Music in November 1969 and April 1970 in raising private funds. Donations amount- Byron Belt of the Newark Sunday Star-which the works of 14 choreographers ing to $25,000 were made to the Endow- Ledger as "one of the most exciting new were presented. A grant of $10,000 was ment on behalf of the Academy in Fiscal dance organizations anywhere." given in support of these seasons, which 1970, and released an equal amount from Donations and pledges giventothe were offered to the public without admis- the Treasury Fund. Endowment for the American Dance Foun- sion charge. The Alvin Ailey American Dance Theater dation permitted the Endowment to make a The Kansas Dance Council was given two found itself unable to continue in operation grant of $67,000 to the Foundation in Fiscal grants of $7,500 (for the summers of 1969 after its spring 1970 season at the Brook- 1970 from the Treasury Fund. The grant and 1970) in support of its American Dance lyn Academy. The company submitted an enabled the company to present perform- Symposium. The 1969 Symposium was a emergency appeal to the Endowment for ances in seven states during the 1970-six-day festival of classes, discussions and a grant to cover operating expenses prior 1971 season. performances in Wichita in which leading to touring this country and overseas. A The Martha Graham Center of Contem-choreographers, critics and dance com- non-matching grant of $10,000 was made porary Dance was awarded a Treasury panies took part. The 1969 Symposium in- to the company. Its overseas tour, in which cluded performances by Ballet West and performances were giveninsix Soviet the Paul Taylor Dance Company and re- cities, under the sponsorship of the State Members of the Lucas Hoving Dance ceived substantial local support. Department, was a "triumph" according to Company in Icarus. The National AssociationforRegionalthe Moscow correspondent of The Wash- Photograph by Jack Mitchell. Ballet received continuing support for the ington Post.

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Charles Huntington and helper at work: Visual Distinguished educators, including Jamesof a free and democratic society," said Artists-in-Residence project, Minneapolis, 1970. R. Conant,JeromeBruner,Gerald B. Harry D. Gideonse. Photograph courtesy of Arts Development Zacharias and others have been saying, The Artists-in-the-Schools programof Associates. increasingly inrecentyears,thatthe the National Endowment for the Arts and American system of educationis inade- the United States Office of Education was quate, inapplicable to the needs of chil-designed, at the very least, to provide the dren and of society and so off-center asbeginnings of such development. The En- to be virtually irrelevant to the purpose and dowment's concern with making the arts function of the educative process. central to the curricula of our schools is Charles Silberman, for example, inhis demonstrated not only by the placement of study, Crisis in the Classroom (Random artists in the schools, but also by innova- House, New York), says bluntly: tiveprojects whichwill make possible "It is not possible to spend any prolongedadvanced placement in the arts for higher period visiting public school classroomseducation and assist in the development without being appalled by the mutilation of a program for comprehensive secondary visibleeverywheremutilationof spon-school curricula. taneity, of joy in learning, of pleasure in The concept underlying the program is that art, by itself, is as important within the creating, of sense of self. . . . Because adultstaketheschools somuchfortotality of education as are mathematics, granted, they fail to appreciate what grim,science, history and geography. Moreover, joyless places most American schools are,that properly engaged in, art becomes a how oppressive and petty are the rules byway of seeing, feeling and thinking that is which they are governed, how intellectuallyabsorptive for other disciplines of thought sterile and esthetically barren of atmos-and knowledge. The program can have, phere, what an appalling lack of civilityand is having, a decided effect on the obtains on the part of teachers and princi-basic process of teaching and education. pals, what contempt they unconsciously Of allthe areas oflearning, the artsfit display for children as children." extraordinarily well into the central concept of innovative and practical curricula. The Mr. Silberman is not without hope. He program can provide, at the very least, the goes on to say: space,air and illuminationthe atmos- "Schools can be humane and still educatephererequired for the beginnings of the well. They can be genuinely concernedtransformation those most knowledgeably with gaiety and joy and individual growthinvolved in education are calling for. and fulfillment without sacrificing concernThe Visual Artists-in-Residence Project for intellectual discipline and development.A transfer of $100,000 in Fiscal 1969, from They can be simultaneously child-centeredthe Office of Education to the National and subject-or-knowledge-centered. TheyEndowment for the Arts, enabled the En- can stress esthetic and moral educationdowment to place visual artistsinresi- without weakening the three R's. They candence in six secondary schools during the do all these things ifbut only iftheir1969-1970 schoolyear.This program, structure, content and objectives are trans-organized as a pilot project, was directed formed." by the Centra! Midwestern Regional Edu- A new approach is needed. More andcational Laboratory,Inc. (CEMREL), and more of the authorities in the fieldare carried out with the full cooperation of the calling for a fresh and full use of the arts, sixschoolboardswhichprovidedthe as part of the basic structure of curricula,studio space in which the artists worked. as a way of expanding and enlivening andAt that time, it was hoped that these artists making more valid the process of Ameri-would primarily relate to students, while can education. also working with teachers and in teacher The arts, says Professor Lewis B. May-training, and that students and teachers hew of Stanford University, must no longerwould be stimulated by watching them and be shunted off to the outlying borders ofhelping them work. That hope was realized. the main content of education. School systems insix cities(inCali- "Itistime to consider thefullandfornia, Colorado, Florida, Minnesota, Mis- systematic development of the so-calledsouri and Pennsylvania) were selected by 'fads and frills' as an essential part of anthe Endowment, CEMREL and the National educational program for the preservationArt Education Association (NAEA). Local

20 selectioncommittees, working withthe Endowment andwithconsultants,then chose the six artists. A full reporton the project ispublished in CEMREL's study, The Artist in the School. In hiscommentary, published as part of the study, Charles Dorn, then Executive Secretary ofthe NAEA, notes that the six artists feltat first that the schools presented "an inhospit- able environment for aesthetic learning." But, he added, by the year's end, all six had demonstrated that practicingartists i" could work freely and constructively within the schools. At the end of the academicyear, students inthe Overbrook High School in Philadelphia, one of the six schools, ob- tained 200 signatures on a petition tokeep their artist, Mac Fisher, for anotheryear, The petition stated: "The artist provides a source of advice for the art and non-art student. Heserves as a sourceof inspirationfor the non-art students. His room serves as a showplace for any art work done by students. His room provides a good atmosphere in which the students can take pride. His value to thefacultyand the bettermentofthe school has been proven by his overwhelm- ing popularity...." A further grant of $45,000 in Endowment funds in Fiscal 1970 enabled CEMREL to produce a film on the project. The film, See, Touch, Feel: A Report on the Artist in the School, made on location in three of the schools, under the direction of Donald Wrye, has been released by CEMREL for nationaldistribution. The filmexamines and documents the impact of the artiston ir the students and on the schools. , Artists-in-the-Schools The success of the Visual Artists-in-Resi- ... dence projectinthe 1969-1970 school ,.) ., year led, in June 1970, to the further trans- 1 ot fer of $900,000 in Fiscal 1970 funds from the Officeof Education to the National it Endowment for the Arts, The additional transfer funds made possible the development of a broader, more comprehensive program. The Artists-in-the-Schools program inthe 1970-1971schoolyear, 4 ' throughover 300dancers,musicians, poets, theatre artists, painters and sculp- 1 ,N... tors, is bringing the stimulus and insight of the arts directly to elementary andsec- Students at work, Overbrook High School, Philadelphia, 1970.Photograph by Charles Fuchs, courtesy of CEMREL, Inc. ondary school students in 31 states. The program isbeing administered primarily

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... . , by state arts councils. In addition to the understand the significance and vitality of artist residencies, part of the transfer funds the arts, even if he doesn't plan a career are being used by CEMREL to train teach- in them. He can learn first-hand what they ers in techniques of evaluating such pro- can do to enrich his own life, and that ele- grams. A grant of $1 00,000 was made to ment of fear that is usually present can be

KQED in San Francisco for the production eliminated at an early age. . . . It's a most of three documentary films on the artists' hopeful program." residencies. In addition, one state, Rhode Island, is instituting a major three-year pilot Advanced Placement in the Arts program which will attempt to bring all the A study, completed in 1952, on General arts to schools across the state. Education in School and College, led to The Minnesota State Arts Council has the establishment of an Advanced Place- received a grant of $25,000 to enable thement Program through which students of Children's Theatre Company of the Minne- exceptional talent were given recognition apolis Institute of Art to provide training in for advanced work accomplished in sec- the performing arts as part of the students' ondary schools either through placement regular program for academic credit. in higher level college courses or through The stateartscouncilsof Colorado, granting of collegecredit or both. The Montana, Nevada, Oregon, Utah, Wash- program, administered by the College En- ington and Wyoming have been given trance Examination Board, proved to be $11,000 eachforPoetry-in-the-Schools highly successful for students engaged in projects coordinated by the Poetry Center the academic disciplines to which it was of San Francisco through the Frederic Burk applied. Foundation for Education. The arts council Extensive studies led the Board, in 1968, inIdaho received a $2,500 grant for a to propose that the program be extended special pilot project in poetry. Additional to art and music. Poetry-in-the-Schoolsprojects are being A grant of $100,000, matched by The administered under the Endowment's Liter- JDR 3rd Fund, to help carry out this pro- ature Program and are described in thatposal was recommended by the National section of this report. Council on the Arts in January 1969 and The stateartscouncilsof Alabama, funded in Fiscal 1970. It is hoped that the Ohio, Oregon and Pennsylvania are par- first examinations under the program will ticipating in a program which, under grants be given in the spring of 1972. totalling $100,000, will bring professional The Arts in Secondary Education dance companies led by Lucas Hoving, In 1967, with the support of the Office of Murray Louis and Bella Lewitzky into the Education,a voluntarynetworkof17 school systems of these states and also school systems was formed to devise and into Glendale, California. Virginia Tanner, a execute a program for the development of noted dance movement teacher, is working a new comprehensive secondary school with teachers and students in conjunction curriculum and organizationan Educa- within-schoolperformancesof dance tional System for the Seventies (ES '70). companies. In Fiscal 1970, the Endowment, with a In Alabama, Connecticut, Hawaii, Indiana, grant of $25,000, joined the Office of Edu- Iowa, Kansas, Missouri, New Mexico, Ohio, cation and The JDR 3rd Fund in support- Oregon, South Carolina, Tennessee, Wash- ing the development and demonstration of ington, West Virginia and the District of a new Arts Curriculum for the ES '70 net- Columbia, councils with grants of $12,200 work. "Through publications, demonstra- each are administering Visual Artists-in- tions and conferences," it was stated, "this Residence programs similar to those car- project should exert a significant influence ried out in the 196 9-1 970 program. upon high school'practice over the United The enthusiasm which has met the ex- States." pandingArtists-in-the-Schoolsprogram The project initially studied the existing can be sensed in excerpts from an article arts offerings of the high schools in the by Rolf Stromberg which appeared in the ES '70. This study and further documents, Seattle Post-Intelligencer on May 4, 1970. consisting of reports and transcripts of Stromberg calls the program that will put a discussions held by the Curriculum Team poet in residence in western Washington of the project, the members of its Advisory and a visual artist in residence in eastern Committee and other consultants are con- Washington a "worthwhilemove."He tained in the final report of the project, continues: Young photographer: New Thing Art The Arts in Secondary Education, sub- and Architecture Center's Photography "There is an artistic barrier between the mitted by the Director of the project, Dr. Workshop Program, Washington, D.C. stage and the audience that can hardly be George D. Stoddard, and published by the Photograph by New Thing Art and breached. But, daily, personal contact with United States Department of Health, Edu- Architecture Center. a significant artist can help a youngster cation, and Welfare.

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of the poetry program, they had revised Kenneth Koch and young poet: P.S. 61, The National Endowment in1970, con- New York City, 1970. Koch is the subject of tinued its grants in support of writers andtheir courses and felt much more in touch a 30 minute Endowment film. Photograph by of the literary magazines and the inde- with their students." Helen Weaver. pendent presses which publish their works. For Students: It greatly expanded the program in support "Students who were involved withthe of poets who are now at work inour classroom poets have responded with a schools reinforcing the teaching of Eng-staggering enthusiasm. . . . For many, it lish, and bringing out the creative powerwas thefirst time that they had been that is present within each child. reached and touched by a school experi- Poetry-in-the-Schools ence. For the poets spoke and wroteof President Nixon, in his Special Messagethings and experiences the students knew to the Congress of December 10, 1969,firsthand." pointed to the Poetry-in-the-Schools Pro-For Administrators: gram as a successful project that deserved "The administration has seen its teachers increased support. The program, begun in respondenthusiastically toa new and 1966, was undertaken first in Detroit, Long unusual program. ...As a result . . . the Island, New York City, Pittsburgh and San administration has committed itself to a Francisco.It gained a prompt responsegreatly expanded program in the arts. ..." and was extendedin 1967 to Chicago, Minneapolis, California and theSouth- For Poets: westernstates. A grant of $62,000 in "We have discovered many fine writers in October 1969 brought the program intothis community as a result of the poetry Illinois,Indiana, Iowa, Kansas, Michigan, project. . .. They all enjoyed their class- Minnesota, Missouri, New Jersey, Ohio, room work and felt great rapportwith the Rhode Island and the city of Saint Paul. young people.... They especiallyappreci- In May 1970, the use of $1 0 0,000 in trans- ated the chance to get some feedback fer funds from the United States Office of from a young audience for their poetry, Education made it possible to extend the and several said that the students had program further to Colorado, Idaho, Mon- become their best critics." tana, Nevada, Northern California, Oregon, In Wishes, Lies, and Dreams, (Chelsea Utah, Washington and Wyoming. House Publishers, New York)apoet, The Poetry-in-the-Schools Program has, Kenneth Koch, summarizes his conclusions in the course of five years, brought 300 after three years of work with elementary poets into classroom encounters with over school children in Manhattan's P. S. 61. 500,000 students. The sense of excitement He notes that many of the childrenwith generated by the program is found in re- whom he worked had experienced difficul- ports such as the one prepared by the tiesinreading and writing and were Project Director for the Minneapolis Publicthought to be "deprived." He adds: Schools, Mrs. David LaBerge. In her study, "The tragedyand for a teacher, thehope The Art of Poetry in the Minneapolis Publicand the opportunityis not that these Schools: 1967-1969, Mrs. LaBerge sum- children lack imagination, but that it has marizes the value of the program for teach- been repress-A and depressed, among ers, for students,for administrators and other places at school, where theirdiffi- for the poets themselves: culties with writing and reading are some- For Teachers: tir.,ebacomplete bartotheirdoing "Teachers have been directly affected byanything creativeorinteresting.They needn't be... . The power to see the world the program.. .. For many it provided the only time in their entire teaching careerin a strong, fresh and beautiful wayis a that they were able to meet and talk with possession of all children. And the desire the artist who practices the art they teach. to express that vision is a strongcreative and educational force." . . mostof these English teachers were delighted and grateful for the program. Koch notes that the capacity towrite They had never been offered a chance to creatively is not limited to a small minority: take part in anything special before. They". . . of the children Itaught, every one felt out of touch with the contemporary had thecapacity towritepoetry well scene, as indeed they were. ... enough to enjoy it himself and usually well "Many teachers remarked that, as a resultenough to give pleasure to others. . .."

26 He concludes: PoetsinDeveloping Colleges Program, by Walt Whitman, in which great audiences "Writing poetry makes children feel happy, initiated in 1967, has placed black writers give rise to great poets. capable, and creative. It makes them feel in residence on the campuses of ten col- In Fiscal 1970, grants totalling $30,:-)0 more open to understanding and appreci- leges, primarily in the Southern states. Dr. were made to eight colleges, primarily in ating what others have written (literature). Stephen Henderson, Chairman of the Eng- Southern states, under the Poets in De- It even makes them want to know how to lish Department of Morehouse College in veloping Colleges Program. spell and say things correctly (grammar). Atlantahaswrittenthatthisprogram Once Mrs. Magnani's students were ex- helped to produce good student poets. Coordinating Council of cited about words, they were dying to know "They were good not only because of their Literary Magazines how to spell them. Learning becomes part own talents, but because the older poets Nearly 1,000 non-commercial literary mag- of an activity they enjoy. . . ." had talked to them and encouraged them, A film showing Koch and his students azines are published in the United States. made them trust themselves." In addition, Some, sponsored byuniversities,are was made with the assistance of an En- many secondary benefits have been found dowment grant in 1970. The film, Wishes, printed on expensive formats; others are to flow from the use of poets in college mimeographed in basements. Some, well- Lies, and Dreams, is available for national classrooms: reading skills improve; distribution. the endowed, continue to appear long after use of the college libraryis increased; they have lost vitality; others vanish at the Poets in Developing Colleges classroom teachers find themselves able heightoftheircreativitybecause they Nearly all of the small colleges established to make use of contemporary works which cannot pay their printers' bills. It is in these to educate black students have lacked bear a particular significance to young stu- magazines that the writing of many Ameri- sufficient funds to provide strong courses dents. And, in terms of poetry itself, prog- cans whom we come to regard as masters inliterature orincreativewriting. The ress is made towards the state envisaged first appears.

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27 16.

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The CoordinatingCouncil ofLiterary ect. The volumes were published on a Magazines was established in 1966 to pro- non-profit basis. videfinancialsupport and cooperative Volume 1of the Anthology was pub- services to smallliterarymagazines. lished in 1968, and Volume 2 in 1969. Both Grants made to the C.C.L.M., from Fiscal were well received by the press. In January 1966 through Fiscal 1970, were in large 1970,the National Council on the Arts part distributed to these magazines through established a new policy on grants which C.C.L.M.'s own Grants Committee. In ap- basically committed the Endowment to the plying to this Committee, magazines were support of future creativity rather than to required to show some evidence of con- the provision of cash awards for past work. tinuity. Beyond this the criteria employed After reviewing the Anthology in the light by the Committee were largely literary. "In of this policy, the Council recommended essence," William Phillips, President of the that it be given no further support. C.C.L.M., wrote in the organization's 1970 Discovery Awards AnnualReport,"C.C.L.M.'spolicyhas In recognition of the central importance of been to make grants to magazines which the individual creative writer, the Endow- areserious, energetic,exploratory and ment,inFiscal1970 made "Discovery show aminimalprofessionallevelof Awards" to 41 young or relatively unknown competence." writers who were regarded as having ex- Since its inception, C.C.L.M. has made ceptional talent. These writers were identi- 203 grants to 152 magazines in 38 states, fied and recommended for awards by a amountingto a totalof $191,786. The teamofeightexperienced writers and grant funds have been distributedin the teachers whose search covered every sec- following manner: tion of the United States. Although publi- Geographic Area Percentage of Total cationof a completed workis seldom Northeast 23.6 possible within a year, it is noteworthy that Mid-Atlantic 9.9 the works of several i.triters who received South 14.3 awards in 1970 have since been published, Midwest 25.6 or will be published in 1971. Among these Southwest 4.9 writers are Besmilr Brigham of Arkansas, West 21.7 whose first volume of poems, Heaved from the Earth, will be published in March 1971 Inaddition, C.C.L.M. has organized 21 by Alfred A. Knopf; R. E. Sebenthall of conferences, workshops, college contests Wisconsin, whose collectionofpoems, and other projects, all intended to improve Acquainted with a Chance of Bobcats, was the content, production and distribution of published by the Rutgers University Press, non-commercial literary magazines. and about which a Human Voice reviewer said: "This book is an excitingfirst col- The American Literary Anthology lection, full of verbal and emotional sur- TheAmericanLiteraryAnthologywas prises"; Alice Walker of Mississippi, whose founded in 1966 with the aid of a grant first novel, The Third Life of Grange Cope- from the National Endowment for the Arts. land,(HarcourtBrace, Jovanovich) was One of its purposes was to bring works of called by the Chicago Daily News "a most merit published in small magazines to a promising first novel, and an unusual book larger audience. It was seen also, in the to come from a young black writer"; and words of its editors, George Plimpton and Hugh Seidman of New York, whose first Peter Ardery, as a "method ofgetting volume of poetry, Collecting Evidence, was

money to deserving writers and editors. .. published in 1970 by the Yale University compensating them for what they had done Press. and been ill-paid for." Grants to other Projects The editors were in charge of the gen- Grants in literature were also made by the eral administration of the Anthology which Endowment in Fiscal 1970 to P.E.N. Ameri- Putting a poet into a classroom often was to be published annually. Its contents, can Center for a conference on translation; arouses creativity at an astonishing in poetry, fiction and criticism were chosen to the Association of American University level, from students and teachers bythreepanels,appointedforeach Presses, for the publication of a number of alike. Although the writers may not volume. Endowment grants were made di- insist that the students must write on volumes of fiction and poetry, and to 11 a specific subject, many times they do rectly to the writers whose works were small, non-profit presses, located in Cali- make suggestions "Write about selected, and to the editors of the maga- fornia, Iowa, Massachusetts, New Jersey, colors. Tell a lie in a poem. Make zines in which their works first appeared. New York and North Carolina. Eighty vol- a wish." Gradually the child begins to The publisher of each volume was chosen umes have since been published by the search within himself, finding subjects by lot from a group of publishing houses 11presses given assistance under this of his own. who volunteered to participate in the proj- program.

29 r41 .net- aft, v Music

Finale: the Center Opera Company production Grants made by the National Endowment new projects. Instead, grants were offered of Virgil Thomson's The Mother of Us All, in support of music amounted to $861,620 for the extension of orchestral seasons be- Minneapolis. Photograph by Eric Sutherland, inFiscal 1969 and $2,525,195 in Fiscalyond the traditionalsubscriptionseries, Walker Art Center. 1970. A program involving grants of more and for the improvement of artistic and than $4,000,000 was projected for Fiscal administrative standards. In addition, under 1971. the terms of a resolution adopted by the This rapid expansion of the program was Council, the purpose of the new program undertakeninresponsetotheurgent was stated to be the encouragement of: needs of our musicalinstitutions.Itre- new performing groups within orchestras; flected their commitment to reach out forperformances of contemporary as well as new and wider audiences, an effort which traditional music; the Endowment and the Council felt was programs of appeal to new audiences; necessary and deserved support. more vigorous fund-raising campaigns; and Support for Symphony Orchestras new contributions from private sources. Until recently, the orchestras of the nation Grants under the new program were to ba had not looked for support from the En-limited to organizations considered to be dowment which, because ofitslimited of national or regional importance and funds, had undertaken no broad program were directed to "major" or "metropolitan" of assistance in the field. A pilot program, orchestras or those of equivalent artistic however, was approved by the National and organizational status. Council at its June 1968 meeting. Under The Orchestra Program was announced this program, four grants of $50,000 for on March 20, 1970, and applications were ancillary services were awarded in Fiscal invitedfor grants to be made inFiscal 1970 to: 1971. At the same time, since the needs TheAtlantaSymphony Orchestra,for of the orchestras were so urgent,all of chamber music performances inAtlanta, the applications which had been received and tours of the Southeast by ensembles for grants under the pilot program were composed of orchestra members ($15,300 reconsidered, and, from the Treasury Fund, was obligatedinFiscalYear 1970; the the following grants were made: amount will increase to $50,000); The Buffalo Philharmonic Orchestra: The Boston Symphony Orchestra, for the $50,000 for junior and senior high school development of experimental video taped concerts; programs of orchestral performances; The Chamber Symphony Society of Cali- The Detroit Symphony Orchestra, for inner fornia:$40,000 for youthconcerts and city performances involving black soloists performances of new works; and composers and a black conductor; The Cincinnati Symphony Orchestra: The Minnesota Orchestra, for tours through- $100,000 for student and community con- out the upper Midwest ($27,500 was obli- certs by the orchestra or by the ensembles gated in Fiscal Year 1970; the amount will drawn from it; increase to $50,000); The Cleveland Orchestra: $64,400 for spe- A fifth grant was approved but not ex- cial performances in Alaska, Oregon and pended in Fiscal1 970 to the New York Washington; Philharmonic, for a series of concerts for The Denver Symphony Orchestra: $59,000 union members and their families jointly for touringinColorado,Nebraska and sponsored by the orchestra and the Central Wyoming; Labor Council of the AFL-CIO. The National Symphony Orchestra Associ- Inpreparingfor an expanded Music ation of Washington, D.C.: $125,000 for 30 Program, the Chairman in December 1969,youth concerts in Maryland, Virginia and appointed a new Music Panel and an the District of Columbia; Orchestra/Opera Panel. With the help of The St. Louis Symphony: $100,000 for a these advisors, guidelines for an assist- conductor training program including per- for symphony orchestras ance program formances; were developed and were recommended by the Council at its January 1970 meeting. The San Francisco Symphony: $100,000 Across-the-board subsidies were ruled out for a summer workshop program and for by these guidelines, but orchestras were concerts in schools; and not required to limit their applications to The Utah Symphony: $30,400 for perform-

32 .fter.

youngAmericans evoked innursing high school choralapolis: $40,000 forits 1969-1970 season youth centers, es presenting 2,000 which included two newcommissioned homes, in Rotary Clubs, in ents with the orchestrain seven re- in factories, in classroomsand in union works, two Americanpremieres and a two- ns of the state, halls. A new activityundertaken with the week tour of communitiesin Minnesota; grant was the ese grants weremade possible by dona- support of the Endowment which wereThe Goldovsky OperaInstitute: $30,000 for organization of an annualtraining con- s totheEndowment La TraWata which toured Fund. In eacha production of ference and festival inBeloit in which new tched from the Treasury through 17 states in theEast, Southeast se, one half of thegrant as itis listed methods of presenting the arts areworked and Midwest in Februaryand March 1970; ballet and musi- nsisted of federal funds, out. An evening of opera, The Opera Associationof New Mexico: cal comedy, held inSeptember 1970 as pport tor Opera program and Institute, a non-profit$50,000 for its apprenticeship part of the festival,drew 8,500 people e National Opera its production of TheMarriage of Figaro in of Beloit. rporation in Washington,D.C., was es- one-filch of the population of a grant ofits 1970 season; Young Audiences, a non-profitorgani- olished in 1970 with the aid Opera Company: brings chamber 00,000 from the NationalEndowment.The Philadelphia Grand zation founded in 1949, $20,000 for the production ofthree operas ensembles into schoolclassrooms where e grant, madefrom the Treasury Fund, to by pledges in an equal in the PhiladelphiaAcademy of Music and they presenttheirinstruments, play s made possible exchange ideas. Forty ount from private donors.In July 1970,for in-school performances; young children and Association: $50,000 chapters of Young Audiences,in 24 states, e Institute announcedthat grants in theThe St. Paul Opera concerts in st year would be madein five programfor the completion ofits 1969-1970 sea- presented 10,000 classroom 1970. Like thePoetry-in-the-Schools Pro- eas: son; and encounters of children production costs of newThe Seattle OperaAssociation: $36,000 for gram, the classroom p supplement cities in Montana and and musicians evoke animmediate re- Ir hitherto unproduced operas; a tour of seven the world of the arts Washington in which productionsof Tosca sponse as they open York City sight and touch and 'o conduct a study (by the New and La Boheme werepresented as part to the young through )pera) of the methods and costsof de- and of aprograminvolvingschools hearing. eloping operatic films fortelevision; Typically, in a classroomsession with communities. string quartet plays a 'o commission new operas; Young Artists and NewAudiences young children, a programs into Affiliate movement from a work byBartok, Hinde- 'o bring introductory opera Two nation-wideorganizations, discussion fol- ,ections of the nation where operais not have done mith, Mozart or Webern. A Artists and Young Audiences, describe the enerally available; and outstanding work in recent yearsin de- lows in which the children feelings that the musicengenders within `o assist exceptionally gifted youngsing-veloping new audiences formusic. These them. Then one of thechildren takes over :rs in theirprofessional careers. organizations were again supportedwith conductor, and the work is support to the 1970. as a guest \t the same time as it gave matching grants in Fiscal played again, slower orfaster, louder or nstitute,the Endowment continuedto Affiliate Artists, founded inBoloit, Wis- providing cur- artists into softer. The audience isthen asked which nake grants to companies consin in 1966, brings young interpretation seems right tothem and why. entperformancesinopera.Matchingcommunities for eight weeks offormal and federal funds and lec-The children draw thebow across the grants, made up of informalconcerts,demonstrations, hold the violins. amounts, were discussions with communitystrings of the cello and private donations in equal t.:Tesand And they are left with acomprehension given to the followingcompanies: groups. It is, as W. F.McCurdy, President excitement far beyond Company of Minne- Foundation, said, a and a sense of The Center Opera of The Sears-Roebuck those which result fromlistening to re- means by which ". .. anartist can build larger audiences by going tothe people, corded music. A grant of $60,000 inFiscal 1969 en- demonstrating and speakingabout his art, abled Young Audiencestoenlargeits and its meaning in ourdaily lives." the appropriate- The Sears- training staff and to test A donation of $80,000 from for children in kinder- possiblea ness of its programs 4.4 Roebuck Foundation made grade. A second Affiliate garten through the third matching grant of$160,000 to federal and private helped Affiliate grant of $150,000 in Artists in the fall of 1969. It funds was made toYoung Audiences in Artists to place young artistsin communi- the purpose of auspices which in- Fiscal 1970, primarily for ties in 21 states, under strengthening its nationalorganization. A cludeduniversities,colleges,churches, Treasury Fund was symphony orchestras third grant from the state arts councils, made to Young Audiencesfor $323,000 of and a wide variety ofcivic organizations. from Fiscal 1970 two pianists, which $126,050 came The appointments included Fiscal 1971 funds. two dancers, twoharpsichordists,one funds and $196,950 from violinist and Jazz dr instrumental ensemble, one Jazz has been one of themost important 26 singers. Sheafs of pressreports and enrichment for Participant in Young Audiencesconcert. letters testify to the responsewhich these of our art forms, providing Photograph courtesy of YoungAudiences, Inc. 33 , ....1...... 1 ' . \ \ ...., .,,,,,,k; 441/14...."'1.6 III. ,'. 'iliV___4 : ' s. , ,. .G. . VW'' .. i.. Americans and for all the peoples of theMusic in Our Time: $5,000 for four con- world. Despite its continuing vitality, jazz certs given in New York City; is not sharing in the prosperity of other The Philadelphia Composers'Forum: forms of music. For this reason, the En-$5,000 for support of its program of pre- dowment established,inFiscal 1970, asenting concerts of contemporary works pilot program in support ofjazz. Thirty in colleges in seven states; grants, amounting to a totalof $20,050 The University of Alabama Regional Com- were awarded, on the advice of a Jazzposers' Forum: $3,000 for support of its Panel, under four categories of assistance: programs in which works by composers Individual grants of up to $1,000, to Ameri- living in the Southeast are presented; and can jazz composers and arrangersfor TheWashingtonThcaterClub/Theater commissioning new works and for com-Chamber Players: $3,300 for support of pletingworks-in-progress. Tengrants the series of concerts presented by the amounting to a total of $7,150 were madePlayers in the Washington Theater Club in this category. building. Matching grants of up to $1,000, to col- Special Grants leges, universities and schools of music, Grants which did not fall within the estab- to establish short residencies and to pre- lished categories of the Endowment's pro- sent jazz workshops andclinics.Nine grams in music, but which were nonetheless grants amounting to $6,975 were made to substantialinsize,were made tofive schools, colleges and universities in seven organizations in Fiscal 1970: states in this category. The American Choral Foundation was given Individual grants of up to $500 to musicians $25,000 for a summer institute heldin and students for travel and study. Seven Pennsylvania in which choral and orches- grants, amounting to $2,700, were made to tralconductorsweregivenadvanced students and instructors in seven statestraining and were coached in leading a in this category. professional orchestra in choral works by Matching grants of up to $1,000 to public Core Ili,Faure, Hindemith and Honneger; andprivateelementary andsecondary The American Musical Digest, a non-profit, schools and other institutions to present monthly digest of music criticism, was jazz concerts. A grant of $975 made ingiven two grants amounting to $115,000 this category enabled jazz sessions to be for printing and distributing the magazine held in the public elementary schools ofwhich commencedpublicationin the New Orleans. A second grant of $1,000 to autumn of 1969; the New Thing Art and Architecture Center enabled the Center to present jazz concerts The American Symphony Orchestra League in the Washington, D.C. public schools. was given a grant of $10,000 in support of its summer institutesfor conductorsin In addition, the Jazz Institute of Chicago California and Virginia and a second grant was given $1,000 to record interviews with of $40,000 to support a pilot project in jazz artists, and a young musician, Stephen which the St. Louis Symphony Orchestra A. Reid, was awarded $250 to assist him and the Kansas City Philharmonic Orches- in providing a workshop in drumming fortra cooperate with community orchestras underprivileged youth in New York. inpresenting concertsin smaller cities Plow Music and towns; The Endowment's interestin developingThe National Guild of Community Music audiencesforworks by contemporarySchools was given $17,500 for its work in American composers and creators of ex-providing services to the community music perimental forms of musical expressionschools of the nation and for organizing led,inFiscal1970, to support for the new schools. The Arts for All Fund, estab- work of six groups: lished by the National Guild in November Carnegie HallCorporation: $15,000 for1970, will lead a nation-wide effort to pro- "Evenings for New Music" performed in vide the Guild with increased private sup- New York, in Buffalo and on the campus port; and of Rutgers University by resident profes-The New York Chamber Soloists, through sional musicians of the State University ofthe Festival Orchestra Society, were given New York at Buffalo under the direction of$20,000 to extend their tours of colleges Lukas Foss and Lejaren Hiller; and universities in which they present per- Contrasts inContemporary Music/Com- formances which consist in pail of com- At a New York Philharmonic rehearsal. posers' Showcase: $6,000 for a series ofmissioned works and also meet with stu- Photograph by Larry Davis, courtesy four concerts given at the Whitney Museum dents and faculty members in discussions of The Christian Science Monitor. in New York City; and in rehearsals.

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Buster Keaton and Marceline Day in MGM's The American Film Institute, one of the preservation copies of America's films to- The Cameraman (1928), shown as part of the Endowment'smajorundertakings,was gether for safekeeping and study. opening program of The American Film Institute established in the summer of 1967 through To date, AFI has secured for preserva- Theatre in January, 1970. Photograph courtesy joint funding from the Endowment, The tion more than 4,500 American films, in- of the Museum of Modern Art. Ford Foundation and the member com- cluding many long believed lost. These panies of the Motion Picture Association films are stored at the Library of Congress of America. Fiscal 1970 was the final year in The American Film Institute Collection. of the Endowment's initial three-year $1.3 A natural outgrowth ofAFI'sarchival million commitment to the Institute. activities was the inauguration of a film The Institute,under the directionof repertory series in Washington, D.C. at the George Stevens, Jr., has headquarters in National Gallery of Art in January 1970. Washington, D.C.andofficesin Los The American FilmInstitute Theatre was Angeles.Its general purpose, "to stimu- established to serve as a showcase for late and encourage progress in the film classic films as well as the works of con- art," is pursued through programs in film temporary filmmakers.Outstandingfilm preservation, filmmaker training and assist- professionals are invited to introduce their ance,filmexhibition and education.In works and to participatein an informal addition, several publications are regularly audience discussionfollowingthefilm produced and distributed by the Institute. showing. At the time The American Film Institute The response tothe film series was was founded,it was estimated that over enormous-4,000 members enrolled within half of the feature films produced in the five weeks of its public announcement, and United States had been lost. The country membership had to be suspended until that had nurtured and contributed signifi- the Institute could provide larger facilities. cantly to the development of a new art As a result of the tremendous demand, the form, the film, was fast losing all records AFI Theatre established a full-time opera- ofitsdevelopment.AFI,followingthe tion in the fall of 1970 in a new 800-seat, pioneering lead of groups such as George fullyequipped theatreinWashington's Eastman House and the Museum ot Mod- L'Enfant Plaza. ern Art, established an archives program In order to document America's film dedicated to preserving the American film heritage, the Institute has undertaken an heritage. exhaustive search for information on all AFI directed its first efforts toward locat- films produced in this country since 1893. ing and securing some of the thousands of The results will be published in The Ameri- films produced from 1912 to 1942, when can Film Institute Catalog which will con- motion pictures were printed on perishable stitute the first definitive record of American nitrate stock. The chemical base of nitrate films. Feature films, short films and news- stock is an unstable compound which is reels will be treatedin 19 separate vol- highly flammable and explosive.Itis in- umes. The first volume, Feature Films, evitablyandunpredictablysubjectto 1921-30, will be published in 1971 as a chemicaldecomposition which destroys two-book set. the film,leaving nothing but a powdery In addition to its archival activities, AFI residue. The danger of loss increases as also concerns itself with the present needs the film grows older. of film. The Stanford Report, a study com- Cast against this picture of a decaying missioned by the Endowment in 1966 to national film heritage, AFI began an inten- help define the function and programs of sive program to locate and to acquire for the proposed Film Institute, recognized the preservation as many American films from need for a bridge to span the gap between the nitrate era as still remained intact. academic training and theprofessional The libraries of major producing com- realm.Consequently,whenAFI was panies, including RKO, Columbia, Warner founded, one of its goals was to establish Brothers and Paramount are now beinga center where young filmmakers could secured through theInstitute's archives work closely with leading professionals in program. Hundreds of private filmcol- tutorial relationships. lectors have been persuaded to add their The American Film Institute's Center for rare holdings to the nation's repository.Advanced Film Studies opened at Grey- Museums and archivesthroughoutthe stone in Beverly Hills in September 1969 world are cooperating to bring the best after two years of intensive planning and

38 preparation. Nineteen fellows were chosen from 200 applicants screened for admis- sion the first year. During the t,..)-year course of study and training, each fellow is given a budget that allows him to take a film from the initial idea stage through finalediting, working closely with leading professionals inthe field. Fellows also study films of importance in a screening program designed to fillin the canvas of filmhistory and to survey the work of new filmmakers. The Center's program gives fellows the opportunity to actively engage in all aspects of production, as well as research and criticism, under the guidance of experts. The original 19 fellows completed theirfirst year at the Center in July 1970. AFI'sconcerns ineducationextend from the filmmaker to his audience and are addressed to the need for information and assistanceinuniversities,collegesand schools, wherever film is taught and utilized. A 1968 conference in Santa Barbara, o f f co-sponsored by the United States Office t,i . ) i of Education and AFI, clarified these needs ,. , .... and pointedtothe value of a national membership of film educators. AFI's Edu- cation Membership was launched and enrolled more than 2,200 members from 49 states in less than two years. Through a newsletter, publications and advisory serv- r ices, the Education Department dissemi- .44 V -- nates a wide variety of film information. IF; s.4) Teacher training is also a prime concern. A seminar for film teachers, held at the 7!"46:. Center for Advanced Film Studies in July 7 4 1970, brought together 35 film teachers from 14 states; a summer institute was conducted at the Kent School in Connecticut in August 1970 for another 35 teachers of fht. all grade levels who were beginning their a work in film study. AFI hasassistedinestablishing35 .& model projects across the country in which innovative procedures for teaching film can be observed and shared with other film f teachers. The Institute has also encouraged .A6. the formation and growth of regional film ' A dirk associations that can respond to needs in 464_ .at 4411 particular locales. In 1969-1970, the Insti- tute worked with regional groups in presenting "regional preview screenings" in Boston, Philadelphia, Denver and Dallas to 1110V' ' acquaint film users with newly available films they would not normally see. Two Education Department surveys have American Film Institute Fellows shooting on location in Kentucky. been published: The American Film Insti-

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414,, tute's Guide to College Film Courses, for students seekinginformation about film study,andThe MembershipDirectory which includes descriptions of film programs across the country by region. Filmmaking is an expensive art. Thq cost of equipment and material makes it ex- tremely difficult for new filmmakers to produce quality films without assistance. To help ease this burden, AFI has provided grants to nearly 100 filmmakers over the past three years for film production, scriptdevelopment and internshipson feature films. These awards, given to help filmmakers advance their careers, go to men and women of promise who have demonstrated some command of the craft of filmmaking and have a developed sense of discipline toward their art. These grants have ranged from $400 to an upper limit of $15,000. The Endowment's continuing interest in arts programming for television is evident in two Fiscal 1970 Public Media Program grants. A $60,000 grant was given to the National Center for Exp3riments in Tele- vision, associated with the Bay Area Edu- cational Television Association (KQED), to provide two year-long fellowships for individuals who have demonstrated special talents which may be applied to research- ing television as an art form itself. The second grant in the field of television served as a follow-up to a program the Endowment funded inFiscal1967 and 1968.In1967 the Endowment made a matching grant of $64,991 to the Educa- tional Television Stations Program Service soitcould launch an incentive grants program which would enable educational television stations to begin production of arts programs. That grant resulted in the selection of 20 original programs for production by local educational stations. A second grant in 1968 made possible the production of an additional 41half-hour arts programs developed during the initial phase of the project by local educational television stations for nationa! distribution by ETS. As a follow-up in Fiscal 1970, the Endowment made a $110,000 matching grant for a project entitled "Artist in Amer- ica Public Television Awards," That project led to the prothctinn of 20 half-hour Decaying nitrate film: frames showing television programs which f:lature the work the Young Men's Blaine Club of of local artists and explore the effects of Cincinnati. Copyrighted by Thomas these artists on their communities. These A. Edison in 1897. Photograph programs were produced locally for na- courtesy of the Library of Congress. tional distribution in 1971.

41 p. 4 1,4

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. Theatre

Members of Milwaukee Repertory Theater The Theatre Program of the National En- Angeles).The American Place Theatre Company in Frank Gagliano's The Prince of dowmentinFiscal1970followedthe was given a grant to broaden its audience Peasantmania. Photograph by Jack Hamilton. general pattern established in prior years. and toextenditscommunity services. Grantsgiventosustainand stimulate Grants insupport of evolving works-in- creative activity and to raise artistic stand- progress were made to The Open Theater ards were directed, in two major programs, and The Performance Group in New York to Resident ProfessionalTheatre Com- City and Theatre Workshop, Boston. panies and to Experimental Theatre and A.N.T.A. Workshop Groups. Under the terms of a contract signed in Resident Professional Theatre Companies 1969, the National Endowment for the Arts Over 40 resident professional companiesaccepted the donation from the American are now in operation presenting seasons National Theatre and Academy of its equity of 20 weeks and more. Their emergence in the A.N.T.A. Theatre, located on West over the past 15 years has been one of 52nd Street in New York City. In return for the most hopeful aspects of the theatre in this gift, which was subject to the retire- America. ment offirst and second mortgages, the Grants have been made by the National Endowment undertook to provide A.N.T.A. Endowment to some of these companies with funds for operation of the Theatre. since Fiscal 1967. In 1970, 24 grants were The Theatre was seen as a national re- made under this program to theatre com- source and it was agreed that, in the 1969 panies in 16 states. Nine companies re- 1970 season, regional repertory companies ceived grants to present new works. Otherwould be brought to New York with the grants were made for staff development, aidofEndowment funds.The season for community and education projects, for opened in September 1969 with the Ameri- local touring and for company training. can Conservatory Theatre of San Francisco In addition to these grants, three com- presentingthree plays: Tiny Alice,The panies, the Arena Stage of Washington, Three Sisters and A Flea in Her Ear. These D.C., the American Shakespeare Festivalwere followed by Henry V. produced by Theatre of Stratford, Connecticut and the the American Shakespeare Festival Theatre New York Shakespeare Festival were given of Stratford, Connecticut. Later in the sea- substantialmatchinggrantsfromthe son, plays were presented by the National Treasury Fund to meet operating costs at Theatre for the Deaf, the Meadow Brook a time of special need. Theatre of Rochester, Michigan and the TrinitySquareRepertory Company of Experimental Theatre and Providence, Rhode Island. Productions at Workshop Groups A.N.T.A. by three New York groups, the These groups are devoted to the develop- Theatre '70 Playwrights Unit, the La Mama ment of new playwhghtsandtothe Experimental Theatre Club and the New exploration of new forms and techniques. York Shakespeare Festival's Public Theatre The best of them are responsible for some were also supported by the Endowment. of the most adventurous and promising In addition, plays produced by the Plum- work inthe American theatre, and cre- stead Playhouse and the Phoenix Theatre ative development is importantly fosteredwere presented in the Theatre without En- through the opportunities offered by these dowment support. groupstoplaywrights, directorsand Ingeneral, the season was wellre- performers. ceived, and one of the plays presented at Twenty-five companies ineightcities the Theatre, No Place to be Somebody were supported with grants made underby Charles Gordone, was subsequently this program in Fiscal 1970. Grants wereawarded the Puhtzer Prize. made principally for support of production On balance, however, the Council con- of new works by such groups as the cluded and the A.N.T.A. board agreed that, Chelsea Theatre Center (Brooklyn), La-although the benefits gained were sub- Mama Experimental Theatre Club (Newstantial, the costs of bringing out-of-town York City), The Julian Theatre (San Fran- companies into New York did not justify cisco) and the Company Theatre (Los the continuance of the program for a sec-

44 ond season, particularly when considered within the context of the present needs ofnoncommercial professionaltheatre companies. Educational and Special Projects The Endowment has also made a limited number of grants for training projects and to organizations engaged in educational programs. The largestof these enterprises,the EducationalLaboratoryTheatreProject, was undertakenjointly with the United States Office of Educationin 1966. The objectives of this pilot project, which con- cludedin1970, were toobserve and evaluate the impact oflive professional theatre upon secondary school students; to investigate the possibilities of cooperr,- Ill 4. tion between a professional theatre ami a public education system and to provide adult theatre as well for the communities involved. asc At Three theatre companies, in Los Angeles, ,. New Orleans and Providence were sup- -W. ported under this project which received a .... Jill total of S1,351,000 in Endowment funds and more than S4,500,000 in other monies. .., ..."- -..4 - The project was fully evaluated in a four- volume report prepared by the Central 4N ... Midwestern Regional Educational Labora- tory. "The Project," the report held, "ac- As.. complished its two primary goals; it brought live theatre to hundreds of thousands of students who otherwise would never have seen a play, and it gave three theatre com- NA -, ope. panies an opportunityforgrowthand ...... v development they wouldnot otherwise Ntr have had." The report concluded: ...... * 00e...., "The total cost of the project over a span _ frri of four years was slightly over six million 011. ' dollars.This may atfirstseem likea Loki. staggering figure, but when one considers that students received copies of the plays for study in class, were bussed to and from the theatres, had many opportunities to talk with and learn from actors in small - group situations, that their teachers were given supportive curriculum materials and A 111\ 1". ... Z.:* 00 I in many cases in-service training, that a 10. considerable amount of valuable research was conducted inrelation to the project and that the communities were given professional theatres, the cost per student Helena Carroll and Marie Carroll in the Washington Theater Club's production of The Effect of attendance of about S6.70 is really quite Gamma Rays on Man-in-the-Moon Marigolds by Paul Zindel. Photograph by Alex Minor. a bargain."

1 IF- 11,,M1,4411111.74we------P - 11 S- r e. ,

Z-3041,44,L.: A second special project of the Theatre Program involved the creation, in Fiscal 1967, of the Theatre Development Fund. A $20C,000 grant, half of which was provided by private donations, enabled the Fund to establish a pilot program for the support of plays of special merit produced for the commercial theatre. From 1968 to July 1970, the Fund assisted 22 Broadway and off-Broadway productions principally through the purchase and re-sale at re- duced prices of 54,150 tickets to students, teachers, union members and agencies working with the disadvantaged. A third grant, of $50,000, made in Fiscal 1970 is providing professional training for students in technical theatre crafts. Under this program, also supported by the Rocke- fellerFoundation, andadministered by BrooklynCollege,students,principally fromdisadvantaged backgrounds,are trained to become scenic artists, costumers and lighting technicians, and are given extemshipswith cooperatingregional theatres as well as intensive classroom and laboratory work. Itis hoped that the program will serve as a model for others throughout the country. Services to the Field A national program of support for the theatre must recognize those particular orgaruzations which provide vitally needed services for the field as a whole. These organizations serve as centers of information, they undertake research, they host international meetings in the United States and organize Americanparticipation;ri such meetings abroad, they facilitate exchange of information and personnel, they aid communication between theatre pro- fessionalsbothnationally and interna- tionally. Thus, their value to the theatre is far in excess of the small cost of sustaining them. Grants made in Fiscal 1970 in this area include support for the programs of the International TheatreInstitute of the United States and the Foundation for the Extension and Development of the Pro- fessional Theatre (an Actors' Equity sponsored organization), as well as a grant Vincent Gardenia and Laura Esterrnan to the American Society for Theatre Re- in the American Place Theatre's search for the first international congress production of The Carpenters by to be held in the United States. Steve Tesich.

47 4744 / 4$ ( A V` 4f%\e'i.4 .71%. 4 44°"7)01/ 0 '11 to;

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Visual Ads

Eugene Eda painting the Wall of Meditation, The Mac Dowell Colony,in1969, com- artistsareparticularlygratifying&rice Olivet Presbyterian Church, Chicago, 1970. pleted a survey of the professional artistsrecognition isdifficultto obtaininthis Photograph by John P. Weber. who had lived and worked at the Colonyarea. ,.." as residents. Only 12 percent ofthe paint- The general tenor of the responses may ers and sculptors included in this surveybe sensed from a few excerpts from the stated that they were able to support them- replies made to two questions: selves through their work as artists. The How did you use the funds which you great majority were engaged in part time received? occupations ranging from ice-skating in- the grant enabled me to cast a num- struction to genealogical research. ". . ber of very delicate pieces in bronze which In continuing its programs in support ofotherwise would have been lost. . . Cast- National Endowment visualartists,the ing has become a luxury unless one can provides fellowships for individual painters count on some sales.. " and sculptors and makes grants to theMary Frank, Cape Cod, Massachusetts institutions which serve artists and which present their works. ". until I received the grant, I had been Fellowships for Individual Artists working outdoors with few tools and poor Grants of $5,000 were given to 60 individ- materials. After the grant, I made a down uals in Fiscal 1967, to 29 individuals inpayment on a studio and bought an ade- Fiscal 1968 and to 30 individuals in Fiscal quete set of tools. . .." 1969. In Fiscal 1970, the National Council J. Geoffrey Naylor, Gainesville, Florida agreed tostress fellowships forfuture "I bought a crane. It cost me $4,200 and work, rather than awards for past achieve- then another $1,500 to get her running. ment. Twenty fellowships in the visual arts With the crane as my paintbrush,I was were offered try the Endowment in Fiscal able to do what every normal modern 1970 and obligated early in Fiscal 1971; sculptor has dreamed of: to use industrial they were for S7,500, an amount compara- scale and size in sculpture." ble to the average sabbatical leave forMark di Suvero, New York City associate professors engaged in academic Did the grant aid you significantly in your work. Nominations for these fellowships career? were solicitedfrom73critics,artists, "Yes. Itis important for the artist in the teachers, museum directors and editors of early years of his career to experiment ... art journals. In addition to the 356 nomina- and not to feel compelled to establish a tions which were received, the 278 appli-particular image and style. The grant en- cations for individual grants which were onables the young artist to keep many doors fileintheEndowment were reviewed. open. ." Selections were made by a special com-Christopher Wilmarth, New York City mittee, made up of experts from all regions ..I was able to enlarge the body of my of the nation. I was thus prepared A total of 119 artists were given grantswork for exhibitions. to accept the invitation of the Arts Council of $5,000 apiece under the Endowment'sof Great Britain to hold a retrospective Visual ArtsProgram fromFiscal1966 .." through Fiscal 1969. In an effort to ap-show of my work in London. . Charles Biederman. Red Wing, Minnesota praise thevalueofthese awards, the Endowment, in August 1970 wrote to theArtists' Housing artists who received them and asked howIn 1967, when the Bell Telephone Com- the funds were used, whether they were of pany'sLaboratories buildingon New significant aid, whether the grantees were York's lower West Side was put up for still engaged in professional careers as sale, the Endowment was able to join with artists and whether they felt that individual The J. M. Kaplan Fund to act on one of awards were an effective means of sup- the earliest recommendations made by the porting the arts. National Council on the Arts. Recognizing All of the artists who replied stated that the critical need of all artists, particularly they were still following their professional painters and sculptors,forreasonably- careers in the arts; all felt that individualpriced working and living space, the Coun- grants were effective. One, formerly resi- cil hoped to launch a pilot effort whiCh dent in the Midwest, noted that: might provide a partial solution to the prob- "An award direct from Washington haslem and, more importantly, might offer a all over the more impact. . . . grants to Midwestern model forsimilar projects

50 country. The Bell Laboratories seemed a hold on the site, led lo a request for further professionalartistswith incomes of no perfect opportunity. financing. This was provided in part when, more than S11,750 a year. The 383 units The J. M. Kaplan Fund and the Endow- inFiscal1970, the Endowment made a were quickly occupied, and the waiting list ment each provided grants of $750,000,$500,000 Treasury Fund grant,halfof had grown to over 1,000 by the fime the and with the aid of these funds, the prop- which was private money. Federal Housing first tenants moved in. The project was erly was purchased by the Wesibeth Cor-Administration financing was, at the same dedicated in a special ceremony on May poration, a non-profit organization created time, raised to a total sum in excess of19, 1970. A reporter for the New York for the purpose of converting the labora-$10,800,000. Times examined the tenants' rosier at that tories into working and living quarters for The design and constructionofthe time and concluded that there were in artists. studio/living units in Wesibeth were com- residence: Three hundred and eighty-three studio/ pleted within the very short span of two "... 150 painters, 49 sculptors, 27 pho- living units were constructed within theyears. The issuance of a Certificate of tographers, 29 writers, 26 musicians, 38 main building at Westbeth. RemodelingCompletion in December 1969 permitted adors, 18 dancers, 14 filmmakers, 11 play- costs averaged S12,000 a unit, in contrast the units to be occupied by artists and wrights, 7 poets, 9 composers, 7 architects, to the $30,000 which would have beentheir families at rentals ranging from S110 7 stage directors, 7 printmakers, 3 de- required for new construction. Rising costs,to S190 a month. Applicants were selected signers, 4 graphic artists, 5 craftsmen, 4 and the necessity of expending an addi- by a committee on the basis of merit andtheatre producers, hundreds of children tional S900,000 for the purchase of a lease- need, and were limited lo those who wereand a lot of pets."

7:4 Jr 1III 11

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Escalator, a painting by Richard Estes, one of the 20 artists chosen to receive Endowment fellowships. Photograph courtesy of the artist.

51 14 -4. w F. 4". I .%* f 06. Al -0 . ..=011IMM. I. i .1* In November 1970, Westbeth received the gram was undertaken "to help museumsfury to the Present; only award given by the American Institute stimulate awareness of the visual arts, andThe Fort Worth Art Center, $2,000 for its of Architects to non-profit enterprises in to make their collections more readilyretrospective show of the works of Mil Ion the field of rehabilitation of low or moderate available to a wider public." Three grantsResnick; income housing. 11 was selected, the jury were made under this program to museumsThe Sheldon Memorial Art Gallery of Lin- declared, "... because it proves that a in Boston, Detroit and Fort Worth. In addi-coln, Nebraska, $8,500 for its exhibition: viable environment can be created out of tion, programs which related to museums American Sculpture from its Beginnings to old buildings." in specific areas were undertaken andthe Present, which marked the opening of Works of Art in Public Places were continued in Fiscal 1970. the Gallery's Sculpture Garden; and Under this program, matching grants are The Museum Purchase Plan, established made to cities to enable them to place The Walker Art Center of Minneapolis, in Fiscal 1968, offers federal grants which$8,500 for a show of commissioned works commissioned worksofart inpublic museums match from new sources of places. Artists are generally selected by by eight artists commemorating the refunds for the purchase of works by living opening of the museum in its new building. panels made up of local representatives American artists. Museums are notified of and nationally-known experts chosen by the program through correspondence and Liaison between Museums and Univer- the Endowment. Two works commissioned through announcements in the professionalsities: This one-year program, established under this program were installed in Grand journals. Applications are reviewed try ain Fiscal 1970, undertook to bring univer- Rapids and Seattle in 1969. A third grant, panel. The $10,000 grants, in general, are sityarthistory departments into closer given to Wichita in 1970, led to the corn- directed toward small and medium-sized relationships with art museums. Chairmen missioni igof a large work by James museums. of arthistory departments were offered Rosati, an artist who was born in Pennsyl- Eighty-two museums applied for match-grants of S1,500 to engage scholars at- vania and who is currently Professor ofing grants under this program in Fiscaltached to museums to teach in their de- Sculpture at Yale University.Additional 1970. Ten were selected: partments for one semester. In 1970, 16 grants were made to Minneapolis and to The Dayton Art Institute purchased fivegrants were made under this program. Coursesalready completed a Scottsdale, Arizona for sculpture and to paintings, five drawings, 18 prints and one include Boston for inner city mural work. A similar construction; seminar in Expressionism given by the Director of the Des Moines Art Center at grant to the Community Arts Foundation The Huntington Galleries of West Virginia, assisted a black artist, William Walker, to Drake University and one on the Art of with funds matched by the Booth CoalAfrica and the South Pacific given by a paint a mural, the "Peace and Salvation Company, purchased five works by Hum- Wall of Understanding," on the side of an Dallas Museum of Fine Arts staff member old four-story building bert Albrizio, Leonard Baskin, Harry Ber-at Southern Methodist University. in Chicago. The toia, Seymour Lipton and Daniel Rhodes; mural, accordingtothe Chicago Sun- Workshops: Support for workshop pro- Times, reflectsWalker's concern about The Isaac Delgado Museum of Art in Newgrams in Fiscal 1970 included grants made "hate, and the dangers we face" and his Orleans bought works by Alexander Lieb-to two museums: erman, Earl Reiback and Wayne Thiebauld; conviction that "out of hate, out of con- The Corcoran Gallery of Art in Washington, frontation, only Death wins." The artist's The New Jersey State Museum bought twoD.C., $10,000 for a model workshop pro- work is intended to show, in his own words, works of contemporary American sculpture; gram in which artists are provided with "the dignity and pride and unity ofall and fellowship grants, studios, materials and mankind...." The San Francisco Museum of Art bought exhibition space in the museum; and Museums a carving try Raoul Hague, and a painting by Jules Olitski. The Whitney Museum of American Art, The Belmont Report, prepared in 1968 for $10,000 for a program which brings stu- the Federal Council on the Arts and the Purchases have not yet been completed bydents from all regions of the country to the Humanities, noted that "a pervasive and the five other museums selected under theMuseum for one semester of study in New insistentfinancialcrisisconfronts" our program: The Arkansas Art Center; TheYork City. 6,000 museums. It added: "A strong case Rose Art Museum of Brandeis University in In looking beyond these programs, the can be made for Federal support." Waltham, Massachusetts; The Museum of Museums were among the institutions Endowment prepared, in 1970, to under- Art at the University of Iowa; the Tacomatake a more active role in support of the listed by the Congress in the Act of 1965 Art Museum and the Wadsworth Antheneum as legitimate concerns of the National En- of Hartford, Connecticut. nation's museums. An advisory group, reviewing the needs of our museums, con- dowment for the Arts. At the time it was felt Aid to Museum Exhibitions: Under this that, given the small budget of the Endow- pilot cluded that the troubles encountered in program, specialexhibitions werefinancing exhibitions, the chronic under- ment, a broad program ofsupport for supported through matching grants made museums was impracticable. A pilot pro- in Fiscal 1970 to five museums: staffing of museums, the urgent need for funds for conservation and restoration of The Corcoran Gallery of Art of Washington,works of art and the neglect of training D.C., $8,500 for its exhibition: Two Hun-were all problems of high priority which West Canton Street, Boston, 1970: dred Years of American Genre; Neighborhood participants in the Federal Government should work with Summerthing at work on a playground The University Art Museum of Berkeley.professionals in the field, private donors beneath a mural painted by California, $8,500 foritsexhibition: Re-and state and localauthoritiesto help Roy Cato, Jr. ligious Art in America from the 18th Cen- overcome.

53 Coordinated Programs

From its inception, the National Endowment art from the past. Using a $3,600 grant Mountain States. Aided by a $75,000 grant has undertaken to distribute arts programs from the Endowment, the Council put from the Endowment, the Federation was of high quality to the greatest possible together a unique and highly successful able to tour professional arts organizations number of people. "Art Out of the Attic" exhibit. It has been such as the Utah Symphony, the Denver For this reason, the Coordinated both a critical and popular success. Symphony, Ballet West and Repertory Programs were created. The programs are An experimental project making the Dance Theatre to communities throughout designed to make available, through visual arts available for the first time to the Rockies. touring, exhibitions and experimental unsighted individuals was undertaken by In 1970 the Endowment also continued projects, arts presentations which would the Washington State Arts Commission its support of the Western Opera Theater, not otherwise be available to residents of with the assistance of a $5,000 grant from a touring organization created by the San smaller communities and rural areas. the Endowment. Francisco Opera Company, in states Marty times the amount of money made Through the West Virginia Arts and throughout the far West, the Southwest, the available try the Endowment is small. In Humanities Council and private interests, a Rocky Mountains and in Alaska. It was the Fiscal Year 1970, for example, the follow- new form of outdoor drama, termed a first time a professional opera company ing small grants produced notable results: "significant breakthrough" in this field, was had appeared in the nation's northernmost One of the most novel ideas came from based on the legendary exploits of "The state. the Michigan State Council on the Arts with Hatfields and McCoys." A $7,500 grant During Fiscal Year 1970, Coordinated its development of a touring "Artrain" for from the Endowment provided seed money Programs reached audiences and assisted visual arts exhibitions. A $10,000 special for the project. artists in two dozen states, many of which grant from the Endowment aided the state Each of these projects, and many others lack major professional arts organizations Council and helped to generate more than like them, had a direct bearing on the capable of touring in all fields. halt a million dollars from the railroad efforts of tho Endowment and the state industry and other private interests. The arts councils to reach a wider audience for Council hopes to have the "Artrain" in the arts. operation during 1971. Major programs were also undertaken A $5,000 grant to the Charleston, West through funding from the Coordinated Virginia section of the National Council of Programs. Chief among these were the Jewish Women, made possible the con- touring projects of the Federation of Rocky tinuation of the 13state Appalachian Corridors Exhibition of arts end crafts. Endowment support helped to produce nearly $50,000 in privately-contributed funds and services for the exh;bition. In Alaska, a $10,000 grant to the state arts agency brought about the first statewide conference of arts and community leaders in the area's history. With a $6,570 grant from the Endowment, the American Association of University Women of Des Moines created the first state-wide exhibit of artists as a highlight of the annual lowa State Fair. The Arizona Commission on the Arts and Humanities applied for and received a $10,000 grant to found a bilingual theatre serving both English- and Spanish- speaking residents of the state. The Vermont Council on the Arts appealed to residents of the state to search their attics and storehouses for works of

54 Federal-State Partnership

A central purpose of the federal arts which will serve directly the special needs nated Residency Touring Program in which program has been to stimulate support for of their citizens. For example, in New leading dance companies tour towns and the arts by the states. This aim has been Mexico, with its high concentration of smaller cities giving performances, holding carried out through Congressionally- Spanish-speaking residents, the state Arts master classes and meeting with students, mandated funds set aside specifically for Commission has given its support to a teachers and community leaders. In Fiscal the state arts councils and through close dual-language theatre. In Maine, the State 1970, state councils in Florida, Maine, and continuing cooperation between the Commission worked closely with Canadian Maryland, Michigan, Oklahoma and Utah state councils and the National Endowment provincial officials to develop a mutually administered programs in which ten dance for the Arts. beneficial exchange of arts programs. In companies toured through 22 states for a In the states, as in the nation, the Connecticut, where members of the State total of 67 weeks. question of public support for the arts was Commission felt that a major thrust should The pattern of regional cooperation raised many years prior to the passage of be made toward changing concepts in arts established in these programs seems the National Foundation on the Arts and education, a program enabling mote than certain to be extended in the future. It is the Humanities Act of 1965. At that time, a hundred artists to work with students in further aided by a national citizens organi- according to a study made by the United 40 towns and cities was undertaken. In zation, the Associated Councils of the Arts, States Office of Education, arts councils many states, the administrative weaknesses and by the North American Assembly of existed in 24 states. In only four of these, of community-based arts organizations State and Provincial Arts Agencies, which however, had funds been appropriated for have made the development of far-reaching bring together representatives of arts an arts council in excess of $10,000 a year. arts programs more difficult. The South councils throughout this country and On the initiative of Senator Jacob K. Carolina Arts Commission met this problem Canada. Javits of New York, federal aid for state by sharing the costs of salaries for pro- The impact of the Federal-State Partner- arts programs was made an integral part fessionals in both administrative and ship continues to grow. By working of the 1965 Act. Matching funds were artistic fields. together, by planning carefully to use every offered to those states where councils were Although the relationship between the available dollar in the most judicious way already providing programs. An initial non- various state councils and the National possible and by constantly striving to meet matching grant of $25,000 was offered to Endowment was cordial and effective from the increasing demands of greater the remaining states to enable them to the beginning, the exchange of information audiences, the Endowment and the state survey existing facilities, needed program and coordination of programming was arts agencies are meeting the challenge of areas and establish liaison with community enormously enhanced in Fiscal 1969 and the Congress to make the arts available to arts organizations so that an official state 1970 through a series of regional con- all American citizens who want to enjoy arts agency could be created. !Nences. These meetings, held in every and take part in them. The response of the states was prompt area of the nation, brought state council and decisive. By the summer of 1970, each directors and chairmen together with of the 50 states and four of the five Endowment program directors for the first territorial jurisdictions authorized to receive time to discuss ways in which quality aid under the Endowment's legislation had programs could be broadened for greater established arts councils. In the one regional impact. exception, American Samoa, the creation Out of these meetingsand the first of an arts council W8S reported under way. annual Federal-State Conference on the Not only did the number of state arts Arts held in Washington, D.C., in Septem- councils increase dramatically in this time; ber 1969there has grown a far more the quality and effectiveness of a majority extensive effort to make the Endowment's of their programs were so notable that in national programs of greater interest and Fiscal 1970, 32 state legislatures appropri- benefit to the state arts councils. Typical ated funds for their arts councils in excess of this cooperation has been the Coordi- of the federal contribution ($36,363) in that year. To obtain its regular, annual federal grant through the Endowment, each state council is required to submit an application outlining its program for the year ahead. As might be expected, these programs are noted for their variety and for the inclusion of art forms indigenous to each area. The councils are encouraged to develop broad, imaginative programs and projects

55 The Treasury Fund

delightedand slightly staggeredthat The importance of pluralism in support of pledges from private sources. Nancy Hanks, Chairman of the Endowment, commented the combined efforts of our national the arts, a philosophy clearly articulated by organization and its chapters have been the Congress when it established the Arts afterwards, "We were 'oversubscribed' ... Endowment, is one to which the Endow- by almost 50 percent. Perhaps this will give able to obtain donations which represent ment is deeply committed. When assistance fundraisers for the arts encouragement in a surplus." is provided by widely diverse sectors of this period of tight money." In Fiscal 1970, the Endowment accepted societyindividuals, foundations, corpora- Donations came from 109 communities some 360 donations totalling $2 million tions, unions, state and local governments, in 32 states. Contributions ranged from from 201 individuals, 76 foundations, 51 as well as by the Federal Government $2.50 to $250,000 and came from a wide corporations and 34 other public and the arts can only benefit. Domination from range of sources including large and small private sources. These gifts made an equal one source of funding does not exist;the foundations; small businesses and major amount available from the Treasury Fund. arts are free to develop according to their corporations; school systems and univer- A listing of contributors to the 1970 own needs and goals. A full partnership sities; a union; a school district; world- Treasury Fund appears in this report on effort helps insure a healthy cultural famous composers and artists; outstanding pages 57 and 58. environment. civic leaders; wealthy patrons and many The Endowment continues to be most A particularly useful mechanism of individuals of modest means. grateful for these donations which make assuring this partnership was provided by Perhaps the most dramatic example of possible this unique federal-private the Congress in the form of a legislative this successful partnership between the partnership in support of the arts. provision making a portion of the Endow- Federal Government and private sources is ment's funds available for arts support Young Audiences, Inc. $161,000 had to be on/y when private donations (funds, raised by Young Audiences in order to bequests or "other property") are received qualify for the Treasury Fund grant recom- by the Endowment. Subject to a recommended by the National Council on the mendation from the National Council on Arts at its May 1970 meeting. When an the Arts, each donation is then accepted, anticipated single large donation failed to matched with an equal amount drawn from materialize, Young Audiences appealed to this special "Treasury Fund" and made its 40 chapters. In less than a month, available to an arts organization. The grant checks and pledges totalling $221,000 recipient then matches these "doubled ranging from $2.50 to $20,000 were monies" with additional non-federal funds. received at the Endowment's office in --"Znown-- Thus, four times the amount of the initial Washington. donation becomes available to the grantee.' Representatives of Young Audiences Gifts to the Endowment may be made observed that, gem for unrestricted purposes; or for the "We are particularly gratified that so many specific support of a non-profit, tax-exempt new sources of monies cooperated with arts organization; or for a particular pro- While there are several sizable 1-1I I11 us. ... ,7--rr-r-1-1-F-1 gram within the Endowment. The Endow- contributions, for the most part the support ment encourages use of the Treasury Fund has come from many interested local Nancy Hanks and basketful of donations given method as a means of producing larger individuals or organizations which are to the Endowment's Treasury Fund. grants; as an especially effective way of dedicated to enlarging the work of Young combining federal and private support and Audiences throughout the country. With as an encouragement to the search for the grant we will be able to concentrate on new sources of funds. school programs for inner city or rural For Fiscal 1970, $1 million was set aside disadvantaged areas which have hereto- by Congressional appropriations in the fore had no or at least very infrequent Treasury Fund. Gifts totalling $1 million Young Audiences exposures. We are were quickly received by the Endowment. A further $1 million was added to the Fiscal 1970 Treasury Fund by a supplemental appropriation near the end of the fiscal year. In four weeks the Endowment received more than $1,400,000 in checks and

l when the donor contributes $1,00, that releases $1.00 from the United States Treasury. The resulting $2.00 Is then made available to the grantee who must ordinarily match It with an additional $2.00, resulting in a final total of $4.00 for the grantee from the original Investment of $1.00.

56 Contributors To The Treasury Fund Fiscal Year 1970

Adolph's Food Products Manufacturing Elaine H. Clark Mrs. Howard Fertig Company Mrs. Howard Clark First National Bank of Oregon The Ahmanson Foundation Victor H. Clark Fisher Supply Company Mrs. Alexander Albert Helen Clavin Robert J. Fitzwilliam Alcoa Foundation The Cleveland Chamber Music Society The Ford Foundation Elaine M. Altenburg The Cleveland Foundation, Greater Helen Foster The Alvord Foundation Cleveland Associated Foundation Maureen Fothergill Amerace-Esna Corporation Joan Cogen Mrs. Joe Francis American Express Foundation Joseph Cohen Bertram A. Frank American Security and Trust Company Colt Industries, Fairbanks Morse Inc., Max Frankel Ruth H. Anderson Weighing Systems Division Constance J. Frasch Anna Head Parents Association The Combined Arts and Education Council Joanne Freedman Archdiocesan High Schools of San Diego County (COMBO) Rosemary Dwyer Frey Trust The Arts and Education Council of Community Funds, Inc. F. T. H. Corporation Greater St. Louis Community Projects, Inc. Orpha Gardner Arts Rhode Island Bettie Minette Cooper Mrs. Maurice Georges Associated Food Stores, Inc. Charles N. Cooper Gimbel Brothers Foundation, Inc. Mrs. Ed Axton Aaron Copland Stanley Goldstein The Bachmann Foundation, Inc. The Corbett Foundation Dr. and Mrs. Victor Goodhill Carl W. Bacon V. K. T. Cord Mrs. Robert W. Goodwin Milton E. Bacon The Corpus Christi Caller-Times The Oliver R. Grace Charitable Trust W. N. Banks Foundation Suzanne M. Corradetti Sterling, Grace and Company Courtlandt D. Barnes, Jr. Cleveland C. Cory Mary K. Granger Mrs. Gene W. Bartu Courier-Journal and Louisville Times Mrs. Lester Gross Lois Baskerville Foundation, Inc. Mrs. Aline D. Gunzberg The Bayport Foundation, Inc. Mrs. Sidney D. Craford Ely Haimowitz The Louis D. Beaumont Foundation Elizabeth W. Crouch Nancy Hale Maria Bennett Cupertino Council of Parent-Teacher Charles Hall Mrs. Thomas R. Bennett Associations Hewa S. Halvorson T. Roland Berner Mary W. Custer Edward Harris The Leonard Bernstein Foundation, Inc. Arthur N. Daniels Mrs. George Harris Simon Michael Bessie David M. Daniels Mrs. Robert L. Harris Dr. and Mrs. James F. Bing Daniels Foundation Mrs. Stephen F. Harris Cora Bishoprick Kenneth N. Dayton Mrs. Lester E. Harwell Marilyn W. Blair Jack deSimone Mary Hattori Blinken Foundation, Inc. Mrs. John Dimick Enid Annenberg Haupt Charitable Trust John R. H. Blum Frances L. Dinkelspiel Mrs. David G. Hayhurst William G. C. Boyken Dixie School District (Council of Music Harold H. Heath Stanley Brenner and Arts) The Hecht-Levi Foundation, Inc. Bristol-Myers Fund Sally Dodge Heineman Foundation for Research, Broadcast Music, Inc. Betty Dranow Educational, Charitable and Scientific Mrs. Jack Brockhouse Marilyn Moore Drendel Purposes, Inc. Yvonne M. Brown Memorial Foundation Margaret W. Driscoll Trusts Barbara B. Heistuman Frank M. Burger Mrs. Stephen P. Duggan, Jr. Ben Heller M. Louise Burgueires Foundation Colin 0. Dykeman Jay and Marian Heller Mrs. 0. F. Burris Eddie's Music House Jenifer Heyward C. H. Byfield, ll and Associates, Inc. Mrs. Wiiliam V. Ellis, Jr. Mrs. Charles V. Hickox Charlton G. Campbell Elma Elementary P.T.A. Leroy E. Hoffberger R. McLean Campbell Elmwood-Franklin School, Inc. Mrs. Salley I. Holbert Carbon County School District Elva Fund, Inc. Frank E. Holley Frank Cassas, Jr. The Paul H. Epstein Foundation, Inc. Home and School Association of Mr. and Mrs. C. Castenskiold The Equitable Trust Company St. Augustine's Church Central Labor Council of Clark, Skamania Faigel Leah Foundation, Inc. Lou Ann Horn and West Klickitat Counties Mrs. Lawrence H. Favrot Florence Powel Howard Central Utah Medical Properties Nancy Featherstone Mr. and Mrs. Hyman L. Hymson Corporation Mr. and Mrs. Benjamin N. Feld Illinois Arts Council Foundation Mrs. Robert Charles MaMn J. Feldman Independent Fuel Company Clara Chism Samuel S. Fels Fund International Business Machines City Center of Music and Drama, Inc. Judith Fermoile Corporation

57 Horace H. Irvine Donald R. and Barbara J. Mello Mrs. Mala Pick Mrs. Thomas E. Irvine A. W. Mellon Educational and Charitable N. L. Pines Foundation, Inc. Philip Ludwell Jackson Charitable Trust Trust Princeton Gardens, Inc. Mr. and Mrs. Leonard Jacobs The Andrew W. Mellon Foundation Public Service Company of Colorado Eliot Janeway Mr. and Mrs. Robert B. Menschel Putnam Foundation Jane Jenks The Merchants National Bank, Winona, Judith S. Randal Jay Jerome Minnesota Arthur N. Reicher Robert S. Johnson LuEsther T. Mertz The Jeanne Rich Foundation Junior League of Bakersfield Community The Meselson Foundation Mrs. P. 0. Richardson Trust Fund The Messer Foundation Richard J. Riordan Janet R. Justin Mrs. Mary B. Meyer Robbert and Favaloro Mrs. Phyllis B. Kaiser Miller Felpax Corporation The Martha Baird Rockefeller Fund for Abbott Kaplan Dr. and Mrs. N. Edd Miller Music, Inc. Felicia Lamport Kaplan Minnesota State Arts Council The Rosenberg Family Foundation Gilbert Kaplan Mary Simpson Moller The Edmond de Rothschild Foundation The J. M. Kaplan Fund, Inc. Francis L. Monachino Helena Rubinstein Foundation, Inc. Kaye, Scholar, Fierman, Hays and Handler University of Montana Lionel Ruby Kearns-Tribune Corporation (The Salt Lake Monumental Life Insurance Company Ruder and Finn, Inc. Tribune) W. T. Moore and Associates Sachs Foundation Inc. Keene Sentinel Fund Marcia Moss San Leandro Unified School District James L. Kerr The Mountain States Telephone and Save the Philharmonic Fund Diane A. King Telegraph Company Joseph H. Savitz Mr. and Mrs. Manfred Klein Musicians Mutual Protective Association Jos. Schlitz Brewing Company Mrs. William C. Knudtsen Mrs. Percy H. Myers The Sears-Roebuck Foundation Paul Kohnstamm Raymond King Myerson Seed and Feeding Corporation Samuel H. Kress Foundation National Music Publishers' Association, J. and W. Seligman and Company Eleanor G. Kubie Inc. Bertram R. and Erna E. Sheldon Lackawanna, New York Board of Education Nativity of the B.V.M. Home School Shell Oil Company Beverly Lambourne Association Mrs. William A. Shurcliff Beatrice Landeck Stuart and Sandy Newmark Mrs. Justin V. Smith Chet and Jon Lappen Nevada National Ice and Cold Storage Mr. and Mrs. Fred E. Sonderling James Lawrence Company South Camden Garage Mr. and Mrs. Paul Lehmann The New Hope Foundation, Inc. South Mountain Association, Inc. H. Elizabeth Lenz New York Community Trust Leonard and Rose A. Sperry Fund Max M. Leon Northwestern Michigan Symphony Lucy P. C. Steinert The Edgar M. Leventritt Foundation, Inc. Women's Association Mrs. Sybil Stoller Doris M. Levinson Terence G. O'Brien Hattie M. Strong Foundation Lois P. Lines The J. S. 0. Foundation, Inc. John S. Thacher Hal Linker Productions Ogden Symphony Guild Mrs. Robert H. Thayer Frederick R. Livingston Ogilvy and Mather, Inc. Mrs. Richard H. Thompson University of Louisville Anne L. Olwine Transcript Bulletin Publishing Company, Gail H. Ludowise David Oppenheim Inc. A. L. and Jennie L Luria Foundation Orinda Union School District Paul R. Trichon Lowell H. Lyford Orem High School TRW Russell Lynes Mr. and Mrs. Robert Osborn James R. Ullman Universal Money Order Company Robert P. Lyons . Adeline O'Shaughnessy Ranald H. Macdonald Our Lady of Mount Carmel School ,Vladimir Ussachevsky MacDowell Colony Benefit Overseas Foundation, Inc. Utah Power and Light Company Mr. and Mrs. Kurt Mann Martin Padway Foundation Board for Utah Symphony Society Mr. and Mrs. Eugene Marias Mrs. Donald Paff Frederick R. Waingrow Joseph M. Maslind Mrs. Leon Pagel Archie D. and Bertha H. Walker Foundation May p & F Mrs. John R. Pappenheimer, John W. Warner Maya Corporation Shirley D. Paro The Weil Foundation Mrs. Donald McAllister Peoples Finance and Thrift Company of Fred Weil, Jr. Louise F. McCaiihy Beverly Hills M.,Weinstein, Inc. McCorMick and Company, Inc. Fund Petersen Publishing Company Mrs. Robert N. West Marshall L. McCune Alma H. Peterson Western Packers Trie McKnight Foundation Allan R. Phipps Thornton Wilder Billie B. McReynolds The Lawrence Phipps Fcundation Ruth Crary Young Mr. and Mrs. John Gaw Meem Eleanor. R. Piacenza History Of Authorizations And Appropriations Through Fiscal 1971 National Endowment For The Arts

Authorization Appropriation Fiscal 1966 Program $ 5,000,000 $ 2,500,000 Funds to match private donations 2,250,000 34,308 (Subtotals) ($ 7,250,000) _($ 2,534,308) Fiscal 1967 Program $ 5,000,000 $ 4,000,000 States 2,750,000 2,000,000 Funds to match private donations 2,250,000 1,965,692 (Subtotals) ($10,000,000) ($ 7,965,692) Fiscal 1968 Program $ 5,000,000 $ 4,500,000 States 2,750,000 2,000,000 Funds to match private donations 2,250,000 674,291 (Subtotals) ($10,000,000) ($ 7,174,291) Fiscal 1969 Program $ 6,000,000 $ 3,700,000 States 2,000,000 1,700,000 Funds to match private donations 3,375,000 2,356,875 (Subtotals) ($11,375,000) ($ 7,756,875) Fiscal 1970 Program $ 6,500,000 $ 4,250,000 States 2,500,000 2,000,000 Funds to match private donations 3,375,000 2,000,000 (Subtotals) ($12,375,000) ($ 8,250,000) Fiscal 1971 Program $12,875,000 $ 8,465,000 States 4,125,000 4,125,000 Funds to match private donations 3,000,000 2,500,000 * (Subtotals) ($20,000,000)_..____($15,090,000)* TOTALS $71,000,000 ______$48,771,166 * Private donations $ 9,548,549 * Total Office of Education Transfers to date $ 1,000,000 Total Available for Obligation $59,319,715 *

Final total will be determined by amount of donations received and matched.

59 Financial Summary: Fiscal Year1970

Available tor Obligation

$134,156 Unobligated Balance Prior Year 5(c) 4,246,222 Unobligated Balance Prior Year 10(a) (2) 188,099 Prior Year Refunds and Deobligations and Welfare 900,000 Transferred from Department of Health, Education, 4,250,000 Appropriation 5(c) 2,000,000 Appropriation 5(h) 2,000,000 Appropriation10(a) (2) 2,000,000 Gifts $15,718,477

Funds Obligated

Architecture, Planning and Design $347,750 1,751,350 Dance 1,240,000 Education 513,121 Literature 2,525,195 Music 195,000 Public Media 2,891,000 Theatre 970,244 Visual Arts 505,711 Coordinated Programs 1,963,602 Federal-State Partnership Program 74,644 Program Development and Evaluation Transferred to National Endowment for the Humanities 5,000 $12,982,667

appropriated under the Second SupplementalAppropriations Act Gifts amounting to $2,000,000 werecommitted to the Endowment after the close of amount to be committed of 1970, which became law on July 6, 1970, in Fiscal 1970: they caused an equal the fiscal year. This sum, and the equivalent sumIn gifts were in Treasury funds under Section 10(a)(2) of the governing law. therefore not actually obligated during the fiscal year,and do fundsAvailablefor Bothitems arethereforelistedunder not appear In the second table. Obligation.However, $1,000,000 of theTreasury funds were

60 Architecture, Planning And Design $347,750 Carl Feiss, Washington, D.C. 1,000* National Trust for Historic Preservation, Washington, D.C. 4,500 Environmental Design Program 278,500 America the Beautiful Fund, Washington, D.C. 10,000 American Institute of Architects Foundation, We.shington, D.C. 10,000 Boston Architectural Center 10,000 Kent State University, Kent, Ohio 10,000 Massachusetts Institute of Technology, Cambridge, Mass. 10,000 Metropolitan Museum of Art, New York, N.Y. 5,000 Philadelphia Museum of Art 10,000 School of Art Institute of Chicago 10,000 Tocks Island Regional Advisory Council, Stroudsburg, Pa. 10,000 University of Florida, Gainesville, Fla 8,700 University of Washington, Seattle, Wash 10,000 University of Wisconsin, Madison, Wisc. 9,600 Sidney Cohn, Chapel Hill, N.C. 5,000 William K. Cooper, Washington, D.C. 4,900 James R. Cothran, Atlanta, Ga. 2,000 Laurence S. Cutler, Cambridge, Mass. 5,000 Alton J. De Long, University Park, Pa. 5,000 Frederick C. Eichenberger, Raleigh, N.C. 3,000 Franklin L. Elmer, Jr., Columbus, Ohio 5,000 Francis Ferguson, New York, N.Y. 5,000 John F. Furlong, Brookline, Mass. 4,600 Myron A. Guran, Eugene, Oreg. 5,000 Eugene Kremer, St. Louis, Mo 5,000 R. Randolph Langenbach, Cambridge, Mass. 4,000 John B. Mackin lay, Jr., Orinda, Calif. 5,000 Hal M. Moseley, Jr., Birmingham, Mich. 3,000 Louise H. Odiorne, Yellow Springs, Ohio 5,000 Goldie Rivkin, Chevy Chase, Md 4,400 Gary 0. Robinette, Washington, D.C. 4,800 Donald C. Royse, St. Louis, Mo. 5,000 Robert M. Sarly, Boston, Mass 5,000 John W. Seddon, Jr., Irvington, N.Y. 5,000 Roger D. Sherwood, Ithaca, N.Y. 5,000 Nathan Silver, New York, N.Y. 5,000 Leonard D. Singer, Chicago, III. 5,000 Michael Southworth, Boston, Mass. 5,000 Carl F. Steinitz, Cambridge, Mass. 5,000 Erma B. Striner, Washington, D.C. 5,000 Erik A. Svenson, Bethesda, Md 5,000 Richard Tat lock, Boston, Mass. 5,000 Philip Thiel, Seattle, Wash 4,900 Robert L. Vickery, University City, Mo. 4,200 Donald R. Watson, Guilford, Conn. 5,000 Joseph B. Watterson, Washington, D.C. 1,500 Douglas S. Way, Cambridge, Mass. 5,000 Harry J. Wexler, New Haven, Conn. 5,000 Myer R. Wolfe, Seattle, Wash. 4,000 David L. Young, Baton Rouge, La. 4,900

*Treasury Fund

61 1,250 Student Travel Awards (1969) 250 Frank Armentano, Syracuse, N.Y. 250 Virginia Buchanan, Stillwater, Okla 250 Courtney Francis Hashimoto, Seattle, Wash. 250 Jan Keane, New York, N.Y. 250 Peter Pike, Berkeley, Calif. 62,500 Student Travel Awards (1970) 500 William Abney, Denver, Col. 500 Michael D. Alcorn, Lexington, Ky. 500 Jim Arrowsmith, Westerville, Ohio 500 Douglas D. Baker, Bloomfi-...ld Hills, Mich 500 Michael D. Bamberger, Fmnkfort, N.Y. Kenneth A. Barnhart, Madison, Wisc. 500 500 Gregory K. Barriere, Gainesville, Fla. Bruce Basemann, Columbus, Ohio 500 Katherine Bason, New York, N.Y. 500 Mark Joseph Battista, Kailua, Oahu,Hawaii 500 Roland F. Bedford, New Haven, Conn. 500 Larry Lee Berry, Houston, Tex. 500 Eugene Karl Blauth, Norman, Okla. 500 Peter W. Boland, Los Angeles, Calif. 500 Daria Bolton, Philadelphia, Pa. 500 Robert Brandon, Rocky Hill, N.J. 500 Mary K. Breuer, Cambridge, Mass. 500 Lawrence Brown, Santa Monica, Calif. 500 500 Tar lee Brown, Seattle, Wash. Paul Busse, Cincinnati, Ohio 500 Robert D. Butler, Piscataway, N.J. 500 Karen Calhoon, Trenton, Mich. 500 Dennis A. Call, Tempe, Ariz. 500 Darryl F. Caputo, Upton, Mass. 500 John Marvin Chilton, Austin, Tex. 500 Bruce Arnott Clark, Urbana, Ill. 500 Thomas C. Clarke, Yale, Mich. 500 Sharon Collins, Washington, D.C. 500 Thomas Cunningham, Winthrop, Mass. 500 Robert Di Also, Pittsburgh, Pa 500 Stephen William Domreis, Tigard, Oreg 500 Stephen M. Drake, Amherst, Mass. 500 Thomas Drerup, Columbus, Ohio 500 Charles Steven Dwyer, Alhambra, Calif. 500 Gary Wayne Emmett, Springdale, Ark. 500 Kenneth Ethridge, Tucson, Ariz. 500 Robert L. Farley, Baton Rouge, La. 500 Robert F. Flack, New Orleans, La 500 William C. Fronick, Manhattan, Kan. 500 Philip B. Gallegos, South Bend, Ind. 500 Leon Goldenberg, Lincolnwood, Ill. 500 John J. Graham, New Britain, Conn. 500 Robert L. Graham, Washington, D.C. 500 Thomas P. Graveno, South Euclid, Ohio 500 Cecilia Guiu, Providence, R.I. 500 Everett A. Gustafson, Davenport, Iowa 500 James M. Haggans, Nevada, Mo. 500 Gordon Hall, Albuquerque, N. Mex. 500 Robert Harthorne, Seattle, Wash. 500 Robert L Hewatt, Tucker, Ga 500 Nicholas Hillman, Cincinnati, Ohio 500

6 William John Hisker, Norman, Okla. 500 Bobbie Sue Hood, Berkeley, Calif. 500 Warrick G. Hoopes, Jr., Fort Washington, Pa. 500 Robert D. Hosier, Eugene, Oreg. 500 James Murray Howard, Talladega, Ala 500 Sharon Howell, New York, N.Y. 500 Lloyd Brian Huehls, Indianapolis, Ind. 500 William H. Hunse, Tempe, Ariz. 500 Paul W. Jensen, Pocatello, Idaho 500 Taffia Kennedy, Pasadena, Calif. 500 Sandra Kiger, Salt Lake City, Utah 500 Philip Klinkert, Pomona, Calif 500 Kathleen C. Knight, Chapel Hill, N.C. 500 Mark Craig Kopchell, Rockford, III. 500 Allen Krathen, Princeton, N.J. 500 Dean Labadie, San Mateo, Calif. 500 Gary Martin Lampman, Minneapolis, Minn. 500 Bruce Gordon Lanphear, Moscow, Idaho 500 Hervey Lavoie, Pontiac, Mich. 500 William Leon, West Covina, Calif. 500 Joseph C. Le Vert, Decatur, Ga. 500 Joshua D. Lichterman, Berkeley, Calif 500 Tonis Linnamaa, Ithaca, N.Y. 500 Gary W. MacIntyre, Coral Gables, Fla. 500 Stephen R. Markowitz, New Rochelle, N.Y. 500 Enrico Marziali, Arlington, Va. 500 Kathy Mathewson, Berkeley, Calif. 500 Jeremy P. Mayberg, St. Louis Park, Minn. 500 John K. McCauley, University Park, Pa. 500 David A. Meeson, Cedar Grove, N.J. 500 George Metzger, Cambridge, Mass. 500 Bradley H. Miller, Madison, Wisc. 500 Philip Miller, Lawrenceburg, Ind. 500 Dennis K. Morris, Knoxville, Tenn. 500 James Muggenburg, Chicago, III. 500 Victor R. Nelhiebel, Lansing, Mich 500 Robert J. Newcomer, Los Angeles, Calif. 500 Roger Blake Norred, Austin, Tex. 500 Nancy B. Oleksa, Okemos, Mich. 500 T. Jacob Pearce, Ruston, La. 500 Daniel Price, Waukesha, Wisc. 500 Glen G. Rains, San Luis Obispo, Calif. 500 Jay W. Randle, Raleigh, N.C. 500 Charles E. Reeder, Lexington, Ky. 500 Robert Regni, Brooklyn, N.Y. 500 Nicolas Retsinas, Somerville, Mass. 500 John Rock, Dearborn, Mich. 500 Monde! W. Rogers, Jr., Sweetwater, Tex. 500 David Bruce Rottman, Chicago, III. 500 Sandra Ruffin, Washington, D.C. 500 Barbara Jean Rzeszewski, South Bend, Ind. 500 Peter J. Sartorius, Madison, Wisc. 500 Timothy Lee Shuck, Blairstown, Iowa 500 Robert John Silvestri, New York, N.Y. 500 Armistead Burwell Smith, Ill, Charlottesville, Va 500 Barry F. Smith, Muncie, Ind. 500 Ron Stephenson, Madison, Wisc. 500 Eastern W. Tin, Tallahassee, Fla. 500 Bruce Torao Tsuchida, CambrIdge, Mass. 500

63 Ronald F. Turner, Raytown, Mo. 500 Richard C. Van-os-keuls, Jr., Cleveland, Ohio 500 Forrest D. Varnell, Chattanooga, Tenn. 500 Lloyd J. Vogt, Baton Rouge, La. 500 John Wakefield, Philadelphia, Pa. 500 500 Carl F. Watson, Lafayette, La. Bryce Weigand, Alva, Okla. 500 Frank Michael Wester, Borger, Tex. 500 Andrew J. Wick, Northport, N.Y. 500 Michael Eugene Wiemers, Lincoln, Neb. 500 David Winitt, Brooklyn, N.Y. 500 William Wischmeyer, St. Louis, Mo. 500 Larry Philip Witzling, Ithaca, N.Y. 500 500 Alan T. Yokota, Honolulu, Hawaii Richard L. Zumbrunnen, Fargo, N. Dak. 500

$1,751,350 Dance 163,300 Commissions American Ballet Company/Feld/American Dance 10,000* Foundation, Inc., New York, N.Y. Production ,Challenge Grants 153,300 American pallet Theatre/Ballet Theatre Foundation, Inc., New York, N.Y. 133,300 City Center Joffrey Ballet/Foundation for American Dance, Inc., New York, N.Y. 20,000

Services to the Profession 93,400 Alvin Ailey American Dance Theater/Dance Theater Foundation, Inc., New York, N.Y. 10,000 Brooklyn Academy of Music 50,000* Directors of Development 33,400 American Ballet Theatre/Ballet Theatre Foundation, Inc., New York, N.Y. 16,700 City Center Joffrey Ballet/Foundation for American Dance, Inc., New York, N.Y. 16,700 1,397,400 Touring American Ballet Theatre/Ballet Theatre Foundation, Inc. (1969-1970 season) 120,000 Pacific Northwest Ballet Association (summer of 1969) 100,000 Pacific Northwest 13allet Association (summer of 1970) 95,000 Coordinated Residency Touring Program 215,400 Fine Arts Council of Florida 11,600 Maine State Commission on the Arts 23,900 Maryland Arts Council 31,500 Michigan State Council on the Arts 79,000 Oklahoma Arts and Humanities Council 26,800 Utah State Institute of Fine Arts 42,600

*Treasury Fund National Tours/1970-71 season 867,000 American Ballet Company/Feld/American Dance Foundation, Inc. 67,000* American Ballet Theatre/Ballet Theatre Foundation, Inc. 500,000* City Center Joffrey Ballet/Foundation for American Dance, Inc. 250,000* Martha Graham Center of Contemporary Dance 50,000* Workshops 97,250 Ballet West (summer of 1970) 14,000 Connecticut College/American Dance Festival (summer of 1970) 25,000 Dance Theater Workshop, Inc. (summer of 1970) 10,000 Kansas Dance Council (summer of 1969) 7,500 Kansas Dance Council (summer of 1970) 7,500 National Association for Regional Ballet (summer of 1969) 16,200 National Association for Regional Ballet (summer of 1970) 17,050

Education _$1,240,000 Central Midwestern Regional Educational Laboratory, Inc. (Film), St. Ann, Mo. 45,000 College Entrance Examination Board/Advanced Placement, New York, N.Y. 100,000 Educational Systems for the 70's, San Mateo, Calif. 25,000 George Washington University/Workshops for Careers in the Arts (summer of 1969), Washington, D.C. 5,000 Inner City Cultural Center/Los Angeles Laboratory Theatre 165,000 Artists-in-the-Schools Program/Office of Education Transfer Funds 900,000 Dance 100,000 Alabama State Council on the Arts and Humanities 16,000 Ohio Arts Council 52,500 Oregon Arts Commission 12,000 Commonwealth of Pennsylvania Council on the Arts 19,500 Music 25,000 Affiliate Artists, Inc. (Performing Artists Residency Project) 25,000 Poetry 100,000 Colorado Council on the Arts and Humanities 11,000 The Frederic Burk Foundation for Education/ San Francisco State College 20,500 Idaho State Commission on the Arts and Humanities 2,500 Montana Arts Council 11,000 Nevada State Council on the Arts 11,000 Oregon Arts Commission 11,000 Utah State Institute of Fine Arts 11,000 Washington State Arts Commission 11,000 Wyoming Council on the Arts 11,000 Theatre 25,000 Minnesota State Arts Council (for Children's Theatre Company of the Minneapolis Institute of Arts) 25,000

*Treasury Fund

65 183,000 Visual Arts Alabama State Council on the Arts andHumanities 12,200 Connecticut Commission on the Arts 12,200 12,200 D, C. Commission on the Arts Hawaii State Foundation on Culture and theArts 12,200 12,200 Indiana State Arts Commission 12,200 Iowa State Arts Council 12,200 Kansas Cultural Arts Commission Missouri State Council on the Arts 12,200 12,200 New Mexico Arts Commission 12,200 Ohio Arts Council 12,200 Oregon Arts Commission 12,200 South Carolina Arts Commission 12,200 Tennessee Arts Commission 12,200 Washington State Arts Commission 12,200 West Virginia Arts and Humanities Council Central Midwestern Regional Educational Laboratory,Inc. (for training in evaluation techniques), St. Ann, Mo. 17,000 Association/KQED Bay Area Educational Television 100,000 (for film documentation), San Francisco, Calif. Rhode Island State Council on the Arts (for statewide 350,000 three-year pilot project)

$513,121 Literature 82,000 Discovery Awards Besmilr Brigham, Horatio, Ark. 3,000 1,000 Bill Butler, Missoula, Mont. 3,000 Henry Car lile, Portland, Oreg. 3,000 Raymond Carver, San Jose, Calif. Leslie Chapman, Laguna Pueblo Reservation,Ariz. 1,000 2,000 Lucille Clifton, Baltimore, Md. 1,000 Leo Gonne Ilan, Clinton, Conn. 2,000 David Deck, San Francisco, Calif. Peter Dexter, Ft. Lauderdale, Fla. 1,000 Monica di Emidlo, San Francisco, Calif. 2,000 2,000 Roland W. Flint, Washington, D.C. 3,000 Gene Fowler, Berkeley, Calif. Kathleen Fraser, Iowa City, Iowa 1,000 Nikki Giovanni, New York, N.Y. 2,000 2,000 Louise Glück, Provincetown, Mass, Sidney Goldfarb, New York, N.Y. 2,000 Walter Hall, Tigard, Oreg. 3,000 Arlene Heyman, Syracuse, N.Y. 1,000 Ben L. Hiatt, Sacramento, Calif. 3,000 Fanny Howe, Marblehead, Mass. 1,000 Ronald Johnson, San Francisco, Calif. 2,000 David M. Kelly, Geneseo, N.Y. 2,000 Keorapetse Kgositsile, New York, N.Y. 2,000 Don L. Lee, Chicago, III. 2,000 F. S. Manalli, Santa Rosa, Calif. 2,000 Lawrence Naumoff, Carrboro, N.C. 3,000 Simon Ortiz, Chinle, Ariz. 3,000 Raymond R. Patterson, Merrick, N.Y. 2,000 Arthur Pfister, New Orleans, La 2,000 Carolyn M. Rodgers, Chicago, III. 2,000 Rick Rubin, Portland, Oreg, 2,000

66 Eugene Ruggles, Bodega Bay, Calif. 3,000 Primus St. John, Portland, Oreg. 2,000 Roger Sauls, Chapel Hill, N.C. 3,000 Roberta E. Sebenthall, Mount Horeb, Wisc. 2,000 Hugh Seidman, New York, N.Y. 1,000 Robert Ul lian, Merrick, N.Y. 1,000 Alice Walker (Leventhal), Jackson, Miss. 1,000 James Welch, Missoula, Mont. 2,000 Geoffrey M. Young, Albuquerque, N. Mex. 2,000 John F. Zeugner, Tallahassee, Fla. 2,000

Independent Literary and Art Presses 90,000 The Auerhahn Society, Calif. 10,000 Cummington Press, Iowa 10,000 Four Seasons Foundation, Calif. 5,000 The Jargon Society, N.C. 15,000 Journeyman Press, N.Y. 5,000 Kayak Books, Calif. 10,000 Poets Press, Calif. 5,000 Prairie Press, Iowa 10,000 Pym-Randall Poetry and Arts Foundation, Mass. 5,000 Stone Wall Press, Iowa 10,000 James L. Weil Foundation, Inc./Elizabeth Press, N.Y. 5,000

Poetry-in-the-Schools 64,815 Academy of American Poets, New York, N.Y. 4,815 Illinois Arts Council (for 8 Midwestern states) 50,000 New Jersey State Council on the Arts 2,500 Rhode Island State Council on the Arts 2,500 St. Paul Council of Arts and Sciences 5,000

Poets in Developing Colleges 30,000 Bishop College, Dallas, Tex. 4,000 Hampton Institute, Hampton, Va. 4,000 Johnson C. Smith University, Charlotte, N.C. 3,000 Le Moyne-Owen College, Memphis, Tenn. 3,000 Lincoln University, Lincoln University, Pa. 4,000 Miles College, Birmingham, Ala. 3,000 Texas Southern University, Houston 4,000 Virginia Union University, Richmond 5,000 Support to institutions 178,685 Coordinating Council of Literary Magazines, New York, N.Y. 150,000 Corcoran Gallery of Art (Kenneth Patchen Exhibit), Washington, D.C. 1,185 Hollins College (Conference), Hollins College, Va, 1,000 P.E.N. American Center, New York, N.Y. 20,000 P.E.N. American Center (Translators' Conference), New York, N.Y. 7,500

American Literary Anthology/3 66,621 George A. Plimpton (Administration) (2 grants) 11,621 45 poetry awards; $250 each 22,500 9 essay awards, $1,000 each 9,000 8 fiction awards, $1,000 each 8,000 2 fiction awards, $500 each 1,000 32 poetry editors' awards, $250 each 8,000 6 easay editors' awards, $500 each 3,000 7 fiction editors' awards, $500 each 3,500

67 ..$2,525,195 Music 4,870 Composer Assistance Program(carry-over from previous year) 1,100 III. Thomas Beversdorf, Bloomington, 750 N.Y. Orchestra Da Camera, Hempstead, 1,700 Gunther Schuller, Boston, Mass. 1,320 David Sheinfeld, San Francisco,Calif. 37,300 Contemporary Music PerformingGroups Program 15,000 Carnegie Hall Corporation, NewYork, N.Y. Inc./Composers' Showcase, New York,N.Y. 6,000 Contrasts in Contemporary Music, 5,000 N.Y. Music in Our Time, New York, 5,000 Philadelphia Composers' Forum 3,000 Ala, University of Alabama, University, 3,300 Washington Theater Club for TheaterChamber Players, D.C. 20,050 Jazz Program Bowling Green, Ohio 1,000 Bowling Green State University, 1,000 Friends of the D.C. Youth Orchestra,Washington, D.C. Association, Inc., New York, N.Y. 1,000 The Jazz Composer's Orchestra 1,000 Jazz Institute of Chicago, Inc. 1,000 Langley High School, McLean, Va. 600 Louisburg College, Louisburg, N.C. 1,000 Music, Boston, Mass New England Conservatory of 975 New OrIGans Public Schools 1,000 New Thing Art and ArchitectureCenter, Washington, D.C. KY, 500 Richmond College, Staten Island, 750 New York State University College at Fredonia, 750 University of Cincinnati Campus 375 University of Wisconsin, Marathon County 1,000 Wartburg College, Waverly, Iowa 300 Richard S. Ambler, Wichita, Kan. 250 Vt. Edmund A. Bemis, Jr., Essex Junction, 1,000 William R. Berry, New York, N.Y. 500 Ronald B. Dewar, Champaign, III. 600 McKinley H. Dorham, Jr., New York, N.Y. 500 Md, Robert H. Garren, Landover Hills, 325 Allan B. Gumbs, St. Albans, N.Y. 500 Billy R. Harper, New York, N.Y. 600 Lee Konitz, New York, N.Y. 325 John E. Leubke, North East, Pa 1,000 Henry J. Levy, Baltimore, Md 250 James R. Mitchell, Boston, Mass, 700 Grachan Moncur, Ill, New York, N.Y. 250 Stephen A. Reid, St. Albans, N.Y. 500 Joseph C. Scianni, New York, N.Y. 500 John R. Sox, Greencastle, Ind. 836,000 Opera Program Minn 40,000* The Center Opera Company, Minneapolis, 30,000* Goldovsky Opera Institute, Brookline, Mass. 600,000* The National Opera Institute, Washington,D.C. Opera Festival Association, Inc./Lake GeorgeOpera Festival, 10,000 Glens Falls, N.Y. 20,000* Philadelphia Grand Opera Company 50,000* St. Paul Opera Association Mexico 50,000* Santa Fe Opera/Opera Association of New 36,000* Seattle Opera Association (Touring Northwest Region)

*Treasury Fund

68 Orchestra Program 931,600 Atlanta Symphony Orchestra 15,300 Boston Symphony Orchestra 50,000 Buffalo Philharmonic Orchestra 50,000* Chamber Symphony Society of California, Los Angeles 40,000* Cincinnati Symphony Orchestra 100,000* Denver Symphony Society 59,000* Detroit Symphony Orchestra 50,000 D. C. Youth Symphony 20,000* Minnesota Orchestra 27,500 Musical Arts Association/Cleveland Orchestra 64 ,400* National Symphony Orchestra Association of Washington, D.C. 125,000* Pittsburgh Symphony Society 100,000* St. Louis Symphony Society 100,000* San Francisco Symphony Association 00,000* Utah Symphony, Salt Lake City 30,400*

General Programs 695,375 Affiliate Artists, inc., New York, N.Y. 160,000* American Choral Foundation, New York, N.Y. 25,000 American Musical Digest, New York, N.Y. (2 grants) 115,000 American Symphony Orchestra League, Vienna, Va. (2 grants) 50,000 Eastern Connecticut Symphony Orchestra 6,700 Festival Orchrstra Society/New York Chamber Soloists, New York, N.Y. 20,000 National Guild of Community Music Schools, Evanston, Ill. 17,500 Philadelphia Composers' Forum 20,000* Phoenix Chamber Music Society, Ariz. 125 Seattle Opera Association (Conference) 5,000 Young Audiences, Inc., New York, N.Y. 150,000* Young Audiences, Inc., New York, N.Y. 126,050*

Public Media 3195,000 Bay Area Educational Television AsGociation/KOED/National Center for Experiments In Television, San Francisco, Calif. 60,000 Educational Television Stations/Indiana University Foundation, Bloomington, Ind. 110,000 Lincoln Center for the Performing Arts, Inc. (New York Film Festival), New York, N.Y. 25,000

Theatre $2,891,000 Educational and Special Projects 744,000 American Netional TherAtre and Academy, New York, N.Y. 694,000* Brooklyn College Theatre Artisan Training Program 50,000 Performing Institutions 2,099,500 Resident Professional Theatres 1,065,500 Actors Theatre of Louisville, Ky. 13,500 Alley Theatre, Houston, Tex. 20,000 American Conservatory Theatre, San Francisco, Calif. 25,000 Arena Stage, Washington, D.C. 25,000 Art Institute of Chicago for Goodman Theatre 12,500 Asolo Theatre Company, Sarasota, Fla. 10,000 Center Stage, Baltimore, Md. 20,000

*Treasury Fund

69 25,000 Calif. Center Theatre Group, Los Angelas, 15,000 Cleveland Play House 7,500 Wash. A Contemporary Theatre, Seattle, 15,000 Dallas Theater Center Minneapolis, Minn. 25,000 Guthrie Theatre Foundation, '15,000 Hartford Stage Company, Conn. 25,000 Milwaukee Repertory Theater Company 25,000 York, N.Y. Negro Ensemble Company, New 25,000 Playhouse-in-the-Park, Cincinnati, Ohio 25,000 Repertory Theatre, New Orleans, La. 20,000 Seattle Repertory Theatre 5,000 Sage/West, Springfield, Mass. 20,000 Theatre Company of Boston, Inc. 22,000 Pa. Theatre of the Living Arts, Philadelphia, 25,000 Providence, R.I, Trinity Square Repertory Company, 25,000 D.C. Washington Theater Club, Washington, 20,000 Yale Repertory Theatre, New Haven,Conn, 250,000* American Shakespeare FestivalTheatre and Academy, Stratford, Conn. 300,000* Arena Stage, Washington, D.C. 50,000* Trinity Square Repertory Company,Providence, R.I. 179,000 Professional Experimental Theatres andWorkshops 10,000 American Place Theatre, New York,N.Y. Calif. 2,500 The Barbwire Theater, Inc., San Francisco, 1,500 Caravan Theatre, Boston, Mass 15,000 Chelsea Theatre Center, Brooklyn, N.Y. 5,000 Chicago City Players 10,000 Company Theatre, Los Angeles, Calif. New York, N." 2,500 The Cubiculo Experimental Arts Center, 2,500 Dancers Studio Foundation, New York, N.Y. 10,000 La. Free Southern Theatre, New Orleans, 5,000 III. Free Theatre Fund, Inc., Chicago, 2,500 Group Concept, New York, N.Y. 2,500 The Interplayers, San Francisco, Calif. 2,500 The Julian Theatre, San Francisco,Calif. Inc., New York, N.Y. 15,000 La Mama Experimental Theatre Club, 5,000 Loft Theatre Workshop, New York, N.Y. 5,000 N.Y. New Dramatists Committee, New York, 5,000 New Lafayette Theatre, New York, N.Y. 5,000 New York Free Theatre, N.Y. 30,000 The Open Theater, New York, N.Y. 15,000 N.Y. The Performance Group, New York, 5,000 Society Hill Playhouse, Philadelphia, Pa, 5,000 Studio Watts Workshop, Los Angeles, Calif. 7,500 Theatre Workshop, Boston, Inc. 5,000 Thresholds, New York, N.Y. 5,000 Two Arts Playhouse, Inc., New York,N.Y.

855,000 Other Performing Institutions 435,000* Atlanta Arts Alliance, Inc. 30,000 Mass. Berkshire Theatre Festival, Stockbridge, 15,000 City Street Theatre Ensemble, Brooklyn,N.Y. York, N.Y. 200,000* New York Shakespeare Festival, New 20,000 The Paper Bag Players, New York, N.Y. 100,000* Phoenix Theatre, New York, N.Y. 55,000* University Players/Olney Theatre, Olney, Md.

*Treasury Fund

70 Services to the Field 47,500 American Society for Theatre Research, New York, N.Y. 15,000 Foundation for the Extension and Development of the American Professional Theatre, Inc., New York, N.Y. 7,500 International Theatre Institute of the United States, Inc., New York, N.Y. 25,000

Visual Arts $970,294 Exhibition Aid Program 36,000 Corcoran Gallery of Art, Washington, D.C. 8,500 Fort Worth Art Association, Tex, 2000, University of California, Berkeley/University Art Museum 8,500 University of Nebraska/Sheldon Memorial Art Gallery, Lincoln 8,500 Walker Art Center, Minneapolis, Minn. 8,500 Museum Purchase Plan 100,000 Arkansas Art Center, Little Rock 10,000 Dayton Art Institute, Ohio 10,000 Huntington Galleries, Inc., W.Va 10,000 Isaac Delgado Museum of Art, New Orleans, La. 10,000 New Jersey State Museum, Newark 10,000 Rose Art Museum/Brandeis University, Waltham, Mass. 10,000 San Francisco Museum ot Art 10,000 Tacoma Art Museum, Wash. 10,000 University of lowa/The Museum of Art, Iowa City 10,000 Wadsworth Atheneum, Hartford, Conn. 10,000 Promoting Increased Liaison between Universities and Museums 24,000 Brown University, Providence, R.I. 1,500 Buffalo Society of Natural Sciences 1,500 Drake University, Des Moines, Iowa 1,500 Drew University, Madison, N.J. 1,500 Fisk University, Nashville, Tenn. 1,500 Johns Hopkins University, Baltimore, Md. 1,500 Marshall University, Huntington, W.Va, 1,500 Philander Smith College, Little Rock, Ark, 1,500 Sacramento State College Foundation, Calif. 1,500 Southern Methodist University, Dallas, Tex, 1,500 State University of New York at Buffalo 1,500 University of Arkansas, Little Rock 1,500 University of Cincinnati 1,000 University of Minnesota, Minneapolis 1,500 University of South Florida, Tampa 2,000 Washington University, St. Louis, Mo. 1,500 Wider Availability of Museums 120,000 Amon Carter Museum of Western Art, Fort Worth, Tex. 30,000 Detroit Institute of the Arts 90,000 Works of Art In Public Places 94,000 Boston Foundation, Inc. 5,000 Community Arts Foundation, Chicago, III. 4,000 Minnesota State Arts Council, Minneapolis-St, Paul 20,000 City of Scottsdale, Ariz. 20,000 City of Wichita, Kan 45,000 General Programs 596,294 American Association of Museums, Washington, D.C. 5,000

*Treasury Fund

71 Modern Art, D.C. 10,000 Corcoran Gallery ofAd/Washington Gallery of 25,000 Experiments in Art andTechnology; New York, N.Y. 500,000* York, N.Y. The J. M. Kaplan Fund,Inc. 'Westbeth, New N.H. 25,000* The Mac Dowell Colony(fellowships), Peterborough, Else Press, New York, N.Y. 10,000 New Means Foundation/Something 10,000 Smithsonian Institution,Washington, D.C. 10,000 Whitney Museum of AmericanArt, New York, N.Y 1,294 Miscellaneous Contracts

$505,711 Coordinated Programa 251,960 National Touring Program 4,800 Alaska State Council on theArts (Harkness Ballet) 75,000 Federation of Rocky MountainStates, Inc. 15,000 Maryland Arts Council forCenter. Stage 10,000 Montana Repertory Theatre 9,500 New Orleans PhilharmonicSymphony Orchestra 10,260 Phoenix Symphony Association 8,300 Princeton Chamber Orchestra 9,100 St. Louis Symphony 110,000 San Francisco OperaAssociation/Western Opera Theater 124,450 Special State Projects 10,000 Alaska State Council on the Arts(State-wide Conference) (Bilingual Theatre) 10,000 Arizona Commission on theArts and Humanities 6,000 Fine Arts Council of Florida(Education Program) 5,000 Hawaii State Foundation onCulture and the Arts (Survey) Theatre) 9,800 Idaho State Commission on the Artsand Humanities (Touring 4,750 Illinois Arts Council (Theatre) 7,500 Indiana State Arts Commission(Audience Development) 5,000 Kentucky Arts Commission (PoetryProgram) 3,400 Maine State Commission on theArts and Humanities (Art Exhibit) 10,000 Michigan State Council on theArts (Develop Artrain) 4,000 (Bi-State Crafts Exhibition) Missouri State Council on the Arts 3,600 Montana Arts Council (ArtsFestival) 5,000 New Jersey State Council onthe Arts (Inner city Program) 3,500 New Mexico Arts Commission(Orchestra Tour) 7,500 North Carolina Arts Council(Theatre Tour) 2,500 Rhode Island State Council onthe Arts (Art-Teachers'Workshop) Workshop) 7,000 South Dakota State FineArts Council (Summer Music 2,500 Utah State Institute of FineArts (Art Restoration) 3,600 Vermont Council on the Arts,Inc. (Art Exhibition) Administration) 1,300 Virginia Commission of the Artsand Humanities (Arts 5,000 Washington State Arts Commission(Art for the Unsighted) Drama) 7,500 West Virginia Artzt and HumanitiesCouncil (Experimental Outdoor 129,301 General Programs 10,000 Agnes de Mille 6,570 American Association of UniversityWomen, Des Moines, Iowa University/Workshops for Careers in theArts, George Washington 20,000* Washingtnn, D.C. 5,000 Tex. Lubbock Cultural Affairs Council, Corridors/Exhibition 2" 4,500 National Council of JewishWomen for "Appalachian 39,000 National Folk Festival 21,611 Oakland University, Rochester,Mich. 15,120 Center, Los Angeles, Calif. Performing Arts Council of the Music 7,500 University of California, Los Angeles(Arts Administration Program)

* Treasury Fund