National Endowment for the Arts Annual Report 1982

Total Page:16

File Type:pdf, Size:1020Kb

National Endowment for the Arts Annual Report 1982 Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81. It is one of the great strengths of the American arts. estimated that local public bodies appropriated in Our support of this diversity includes the New FY 82 in excess of $300 million for the arts. York City Opera’s critically acclaimed, sold-out But this total pot of direct government funding is production of Candide and grants to relatively only 17 percent of total giving to cultural institu­ unknown choreographers, painters, and poets to tions. Although the 1982 numbers ate not yet collaborate on interdisciplinary work. available, the American Association of Fund Rais­ Some of our most visible grants in 1982 were the ing Counsel estimates that the private sector (indi­ National Heritage Awards in the Folk Arts--a viduals, corporations, and foundations)contributed new way of honoring 15 performing artists and in 1981 $3.35 billion--up roughly $400 million craftsmen for a lifetime ofoutstanding folk art. We from 1980. This represents a nominal increase of also support creative artists through new music 13.2 percent anda real increase of 4.3 percent. centers that provide composers with sophisticated Also, the share of culture in total giving increased equipment and through feIlowships to writers to slightly from 1981 to 1982. buy time for creative work. Recently, too, the Private sector giving to the arts can be broken Picasso retrospective caught the attention of the down as follows: 86 percent comes from individuals; nation; but perhaps justas crucial in the Iong run 9 percent from corporations; and 5 percent from were our less glamorous grants to help museums foundations. We have reason to be optimistic with bring collections out of storage, install climate regard to the future: control systems, and shift to computerized cata­ ¯ New York’s Chemical Bank, in a study con­ loguing of their holdings, ducted by its Economic Research Department, projected a 100 percent increase in private Public-Private Partnership giving to cultural activities in the 1979-84 time The arts have from the beginning flourished in our frame. country with littledirect help from thegovernment ¯ The Foundation Center, in Foundations at any level--federal, state, of local. We did not Today--1982, reports a 20 percent dollar in­ make the direct government commitment to the crease in grants for cultural activities (1981 arts that we did for, say, education, but we did from versus 1980). In 1981, 3,878 grants to culture 1913 on encourage private support, as for other aggregated $192.6 million, representing 15.3 philanthropy, through tax deductions, percent of total foundation dollars given for ali The National Endowment for the Arts was purposes; this compares with 13.5 percent in established in 1965 to give national recognition of, 1980, when foundations gave 3,291 grants to and national support to, the arts. Our purpose is to culture aggregating $160.8 million. be catalytic, to spark other sources of support for ¯ The American Association of Fund Raising excellence and access to that excellence. The mech­ Counsel estimates that overall corporate giving anisms we use to achieve this catalytic role involve increased 11.1 percent in 1981 compared to 4 Chairman’s Statement 1980. The Conference Board, in its recently The purpose of the National Endowment is: published survey, reports that corporate giving ¯ To recognize the importance of the arts by to cultural activities (in 1980 versus 1979) showed conferring prestige and expressing advocacy at the greatest rate of growth--33 percent--when the highest level: compared to all other philanthropic sectors. ¯ To ensure support--as in the sciences--for ¯ A study by Yankelovitch, Skelly and White new and experimental ventures that might be for the National Council on Foundations has too risky to elicit sufficient private investment; stated that six out of ten corporations surveyed to foster a climate for the unpredictable; indicated they would increase their giving gen­ ¯ To preserve art in danger of loss of deteri­ erally; and three out of 10 indicated they would oration; remain even. ¯ To provide some cushion for the nation’s ¯ Turningto individual donors, researchers at most excellent artistic institutions so that they the American Association of Fund Raising Coun­ do not stagnate; sel estimate that individual giving to culture in ¯ To encourage the kaleidoscope of American 1980 was in the $2.4 billion range; this increased culture; and to $2.7 billion in 1981. ¯ To increase access to the arts for American There also seems to be no necessary connection citizens everywhere. between the state of the economy in a particular The Endowment laas two basic statutory goals: locality and giving to the arts. Some cities in (1) stimulation and maintenance of the creation, economic distress are doing well; others in the Sun production, and presentation of a diversity of Beltarenotdoingwell. The commoningredientfor excellence, and (2) assistance of access to that those doing well is the presence of a dedicated excellence. The techniques we use for achieving group of leaders who want the arts--who want to those goals involve grants and advocacy. More improve the quality of life for themselves and their specifically, they include short-term program of neighbors, project support, longer-term institutional support, The arts in our country have always depended on and partnership. a pluralistic system of support in which no one The majority of our funding is in short-term sector dominates. Private giving, moreover, is in an program of project support. It includes funding of important sense a partnership with government, creativity (through individual fellowships and the The tax deductions involved represent forebear­ encouragement of institutions to create, produce, ance on taxes that would otherwise have been due. and present new American work); assisting the And, unlike giving to the government through maintenance of the main body of our culture; taxes, a private donor gives to the donee of bis preservation and conservation; audience develop­ choice. In fact, when one adds the government’s ment(through education and presentingartwhere share of private contributions, the government’s it would not otherwise exist); professional training; stake in the arts could amount to more than $1.5 and services to the fields. Our discipline programs billion per year--comparable in terms of per ate involved in all of these. Longer-term institu­ capita GDP to that in the United Kingdom and tional support is provided through our Challenge Sweden where they essentially lack tax incentives and Advancement programs to established and for this purpose, emergingorganizations, respectively. Partnership is achieved through matching requirements; the A National Perspective on the Arts involvement of regional, state, and local art agen­ I have been in office a little over a year. And I think cies; and Presidential and Endowment advocacy. it fair to say that my first real job was to re-build a sense of confidence about the Endowment. We ate New Directions here to stay, and to continue to assist the arts in The 1960s and 1970s wereyearsofrapid growth in America. This Administration is firmly committed the arts. Since 1965, the number of professional to a federal presence in the arts. We are also arts organizations has grown by almost 700 per­ committed to a national role. cent. Professional orchestras have increased from The President’s 1981 Task Force on the Arts and 58 to 145; professional opera companies from 31 to the Humanities examined the work of the Endow­ 109; professional dance companies from 35 to 250; ments for the Arts and Humanities. Based on the and professional theater companies from 40 to 500. Task Force’s report, President Reagan stated his As the numbers of companies grew, so did belief that the "Endowments have served an ira­ audiences. In 1965, for example, about one million portant role in catalyzing additional private sup­ tickets were sold for dance performances, chiefly in port, assisting excellence in arts and letters, and New York City. Today there are about 16 million helping to ensure the availability of art and scho­ ticket buyers for dance performances, and 90 larship." percent of them live outside New York.
Recommended publications
  • Donald Mckayle Papers MS.P.023
    http://oac.cdlib.org/findaid/ark:/13030/tf1k400389 No online items Guide to the Donald McKayle Papers MS.P.023 Finding aid prepared by Processed by Laura Clark Brown, machine-readable finding aid created by James Ryan, 1998; edited by Audra Eagle Yun, 2012. Special Collections and Archives, University of California, Irvine Libraries The UCI Libraries P.O. Box 19557 University of California, Irvine Irvine, California, 92623-9557 949-824-3947 [email protected] © 2012 Note Arts and Humanities --Performing Arts--DanceArts and Humanities--Performing Arts --Theater Guide to the Donald McKayle MS.P.023 1 Papers MS.P.023 Title: Donald McKayle papers Identifier/Call Number: MS.P.023 Contributing Institution: Special Collections and Archives, University of California, Irvine Libraries Language of Material: English Physical Description: 19.1 Linear feet(19 document boxes, 5 record cartons, 1 shoe box, 6 flat boxes, and 3 oversized folders) and 12.1 unprocessed linear feet Date (inclusive): 1930-2009 Abstract: Photographs, programs, production notes, music scores, audio and video recordings, costume designs, reviews, and other printed and graphic materials illustrate the eclectic career of world-renowned choreographer and University of California, Irvine Professor of Dance Donald McKayle. Early materials pertain to his youth in Harlem and his performance career in New York City in concert dance, theater and television. The bulk of the collection documents McKayle's career as the choreographer of over fifty concert dance pieces between 1948 and 1998 and as a director or choreographer for theatrical productions both off and on Broadway, including Raisin and Sophisticated Ladies. The materials illustrate the development of individual choreographic pieces, the evolution of McKayle as an artist, and his career as a dance educator.
    [Show full text]
  • Donald Mckayle's Life in Dance
    ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow.
    [Show full text]
  • A Daumier of the Rotogravure
    FINE FEBRUARY/MARCH 2011 www.galleryandstudiomagazine.com VOL. 13 NO. 3 New York ARTS GALLERY STUDIO Announces the release of Robert Cenedella’s serigraph & “HEINZ 57” 35”x24” , 2011 A DAUMIER OF THE ROTOGRAVURE Hand screened on acid-free stock, signed and numbered by the artist Denys Wortman at the Museum of the City of New York (Certificate of authenticity is available upon request) STUDIO 57 currently represents: Calder Picasso Dali Cenedella Miro Hirschfeld Levine Grosz Gropper Cadmus Benton Pissaro Bellows Renoir Duchamp Landeck Agam Chagal Sloan Wa rh o l “HEINZ 57” by Robert Cenedella 35”x24” TO COME DOWN ON YOUR PRICES. TO COME DOWN BUY THEM, YOU’LL HAVE IF I HAVE August 30, 1948 Grease pencil, graphite and ink Courtesy of The Center For Cartoon VIII Studies and Denys Wortman plus Sleeping with my Uncle: Coming of Age on the Lower East Side in the '50s Studio 57 Fine Arts Custom Framing 211 West 57th Street New York, NY 10013 212–956–9395 from Ed McCormack’s memoir in progress HOODLUM HEART page 8 Beverly A. Smith Tip Toe Marsh - oil on canvas 24"wide X 36" high Toe Tip March 1st – 19th, 2011 Reception: Friday, March 5th 3-6 PM © Susannah Virginia Griffin - The Warrior 48” x 36” New Century Artist Gallery 530 West 25th, New York Hours: Tues - Sat 10 AM - 6 PM www.beverlyasmith.com Artist seeks gallery representation – [email protected] Wally Gilbert “Geometric Series: SINGULAR SENSATIONS Squares, Triangles, and Lines” Masoud Abedi Jorge Berlato Susannah Virginia Griffin Jenny Medved MORPHING INTO MILIEU Francisco Chediak René Foster Maria José Royuela Maricela Sanchez March 1 - March 22, 2011 Reception: Thursday, March 3, 2011 6-8 pm "Triangles # 2-10," image is 38" x 40" on 44" 36" luster paper.
    [Show full text]
  • The Creative Arts at Brandeis by Karen Klein
    The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • George Tooker David Zwirner
    David Zwirner New York London Hong Kong George Tooker Artist Biography George Tooker (1920–2011) is best known for his use of the traditional, painstaking medium of egg tempera in compositions reflecting urban life in American postwar society. Born in Brooklyn, he received a degree in English from Harvard University before he began his studies at the Art Students League in 1943, where he worked under the regionalist painter Reginald Marsh. In 1944, Tooker met the artist Paul Cadmus, and they soon became lovers. Cadmus, sixteen years his senior, introduced Tooker to the artist Jared French, with whom he was romantically involved, and French’s wife, Margaret Hoening French, and the four of them traveled extensively throughout Europe and vacationed regularly together. Tooker appears in a number of the photographs taken by PaJaMa, the photographic collective formed by Cadmus and the Frenches, and he served as a model for Cadmus’s painting Inventor (1946). Cadmus and French introduced Tooker to the time-intensive medium of egg tempera, which would become his principal medium. Tooker’s career found early success, due in part to his friend Lincoln Kirstein, the co-founder of the New York City Ballet, encouraging the inclusion of his work in the Fourteen Americans (1946) and Realists and Magic-Realists (1950) exhibitions at the Museum of Modern Art. In 1950, Subway (1950) entered the Whitney Museum of American Art’s collection—the artist’s first museum acquisition—and the following year he received his first solo exhibition at the Edwin Hewitt Gallery. Near the end of the 1940s, Tooker parted ways with Cadmus because of the latter’s ongoing relationship with the Frenches.
    [Show full text]
  • Table of Contents
    Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D.
    [Show full text]
  • Collection of Television Press Kits, 1958, Ca
    http://oac.cdlib.org/findaid/ark:/13030/c87082fc No online items Finding Aid for the Collection of television press kits, 1958, ca. 1974-ca. 2004 Finding aid prepared by Arts Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] © 2012 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 1908 1 television press kits, 1958, ca. 1974-ca. 2004 Title: Collection of television press kits Collection number: 1908 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 9.5 linear ft.(19 boxes and 1 flat box.) Date (inclusive): 1958, ca. 1974-2004 Abstract: This collections documents a variety of television show genres broadcast on networks such as ABC, CBS, NBC, HBO, PBS, SHOWTIME, and TNT. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the caollection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]
  • Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608
    Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 This finding aid was produced using ArchivesSpace on June 11, 2018. English Describing Archives: A Content Standard Walter P. Reuther Library 5401 Cass Avenue Detroit, MI 48202 URL: https://reuther.wayne.edu Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 Table of Contents Summary Information .................................................................................................................................... 3 History ............................................................................................................................................................ 4 Scope and Content ......................................................................................................................................... 4 Arrangement ................................................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 7 Collection Inventory ......................................................................................................................................
    [Show full text]
  • 2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London
    REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author 2 0 0 jT COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Commartslectures00connrich.Pdf
    of University California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California University History Series Betty Connors THE COMMITTEE FOR ARTS AND LECTURES, 1945-1980: THE CONNORS YEARS With an Introduction by Ruth Felt Interviews Conducted by Marilynn Rowland in 1998 Copyright 2000 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Betty Connors dated January 28, 2001. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]