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National Endowment for the Arts Annual Report 1981

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National Endowment for the Arts Annual Report 1981 National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1981. The fiscal year covered in this report preceded my tenure as chairman. Respectfully, F.S.M. Hodsoll Chairman The President The White House Washington, D.C. May 1982 Contents Chairman’s Statement 3 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Dance 8 Design Arts 38 Expansion Arts 64 Folk Arts 118 Inter-Arts 140 International 166 Literature 170 Media Arts: Film/Radio/Television 192 Museum 228 Music 282 Opera-Musical Theater 358 Theater 374 Visual Arts 406 Policy and Planning 462 Challenge Grants 464 Endowment Fellows 474 Research 478 Special Constituencies 480 Office for Partnership 486 Artists in Education 488 Partnership Coordination 497 State Programs 500 Financial Summary 505 History of Authorizations and Appropriations 507 I , i li,ili~il|illlililil|liilil ill, i ,,I, llili,, lil I i iill,a liiilili,L,,i I i,i,i i,i,i ..... ii, 3 Chairman’s Statement sympathetic to the very real needs of our cultural What follows reflects much more than an outline of programs and a listing of grants. Rather, it organizations." Calling on us to redouble our efforts to leverage new private support for the presents a picture ~f the vitality of America’s artistic life--stretching from Alaska to Florida, arts, the President quoted Henry James: "It is art that makes life, makes interest, makes impor­ from Maine to Hawaii. The arts in America are alive and well. Our tance.., and I know of no substitute whatever for country continues to have the greatest variety of the core and beauty of its process." excellence of any country in the world. There are Over the past decade and a half, in part as a result of increased contributions from all sources, dozens of regional theaters; there’s Broadway; the arts have flourished and grown. Neither the there’s Hollywood; there are painters and sculp­ government nor the private sector alone can give tors everywhere. Post-modern architecture begins the arts the support they need to maintain their here. There’s a greater variety of first-class or­ chestras than in any other single country. We are present momentum. But clearly a partnership can accomplish more than either can do alone; a world center for ballet and modern dance. There are great museums. And artists from around the for each has strengths that complement the world continue to flock to this country. This is a other’s. The Endowment offers a national perspective tribute to the nation. on artistic quality through its peer-panel review All of this we do without academies, without official standards, without the dominance of any system; experience, in working with state and one sector of support. This is very much in the local arts agencies and with service organiza­ Enlightenment philosophy of our country’s tions; knowledge of the arts world; and, perhaps most important, a funding philosophy that en­ founders. compasses the needs of both the artists and the The artists, arts organizations, and projects the National Endowment for the Arts helped public. The report of the Presidential Task Force on fund during 1981 represent only a small fraction of the sum total of arts activity and support in this the Arts and Humanities to President Ronald Reagan in October 1981 said: "We have learned a country. Indeed, the Endowment made available ’s less than five percent of the total co.ntributions to vital truthmAmerica arts and humanities are vigorous in spirit, though frail in financial health. the arts in the nation in 1981. However, this rela­ ¯.. We renewed our awareness of the vitality of tively small amount--along with the other 95 American arts, the ecumenism of their appeal to percent made available by state and local govern­ the whole of American audiences, and the lively ments, individuals, corporations, and founda­ spirit of their supporters." tions-is an indication of that vital partnership Although this report of the fiscal year ending of support--no one source dominating--that September 30, 1981, preceded my tenure as Chair­ assures excellence and diversity. According to the American Association of man, I am privileged to make this brief intro­ duction in the name of myself and my distin­ Fund-Raising Council, individuals, corporations, and foundations gave in 1981 a record $3.5 billion guished predecessors Roger Stevens, Nancy Hanks, and Livingston L. Biddle, Jr. to our nation’s cultural institutions, a 13.2 percent increase over the 1980 level of $2.96 billion. At the state level, state governments increased their support for the arts almost ten percent over the 1980 position. President Reagan, reflecting the federal com­ mitment to the arts, commented during 1981: F.S.M. Hodsoll, Chairman "Our cultural institutions are an essential na­ National Endowment for the Arts tional resource. They must be kept strong... I am May 1982 4 The Agency and Its Functions Both legislatively and by Council policy, the The National Foundation on the Arts Arts Endowment was conceived as a catalyst to and the Humanities In 1965, Congress created the National Founda­ "increase opportunities for artists and to spur involvement in the arts on the part of private tion on the Arts and the Humanities as an independent agency of the Executive Branch of citizens, public and private organizations, and the Federal Government. The Foundation is com­ the states and communities. The Endowment’s posed of the National Endowment for the Arts, relationship to the primarily private and local cultural community is one of partnership, in the National Endowment for the Humanities, and a coordinating council of federal officials which the federal role is to respond to the needs of called the Federal Council on the Arts and the the field rather than direct or interfere in the Humanities. The Foundation has no administra­ creative activities of individual artists or cultural tive or programming identity separate from its organizations. components. Each of the two Endowments is served by its respective advisory body, the Na­ Endowment Panels The panels serve the individual Programs of the tional Council on the Arts or the National Council on the Humanities. Endowment much as the National Council on the Arts serves the Endowment as a whole. Together the Council and panels provide a system of Federal Council on the Arts and the Humanities professional peer review to evaluate applications, identify problems, and develop the policies and The Federal Council on the Arts and the Human­ ities’ is composed of the Chairmen of the two programs through which the Endowment re­ Endowments and 18 highly placed government sponds to changing conditions. More than 600 private citizens serve on these officials. The Federal Council promotes coordination panels, whose membership rotates regularly. Pan­ between the programs of the two Endowments elists are appointed by the Chairman with the and those of other federal agencies which support advice of the Council and staff as well as other the arts and the humanities. It also undertakes organizations and leaders in the field. research related to these programs. Methods of Funding The National Council on the Arts Grant money authorized by Congress comes to Formed in 1964, the National Council on the Arts the Endowment in program funds, the Treasury preceded by one year the establishment of the Fund, and Challenge Grant funds. Most direct National Foundation on the Arts and the Human­ grants to organizations and individuals come ities. from program funds. These grants must be The Council is composed of the Chairman of matched dollar-for-dollar. the National Endowment for the Arts, who serves The Treasury Fund arrangement allows pri­ as Chairman of the Council, and 26 presidentially vate donors to pledge gifts to specific Endowment appointed citizens who are recognized for their grantees. Each pledge frees an equal amount for knowledge of the arts, or for their expertise or the grantee from the Treasury Fund, which is profound interest in the arts. The Council is maintained at theTreasury Department. Grantees mandated by law to advise the Chairman on must then match the combined total of the donor’s policies, programs, and procedures. It also must pledge and the Treasury Fund disbursement. review and make recommendations on applica­ Challenge Grants are awarded for projects tions for grants. that contribute to the long-term financial stabil­ ity of grantee organizations and must be matched The National Endowment for the Arts on a three-£o-one basis. The National Endowment for the Arts is, in effect, an independent federal agency, with its own Chairman, National Council, staff, pro­ grams, and budget. ~11 IIII III IIIIII , I III I I li IlilinIIII, il I I ~ li II I 5 National Council on the Arts Kurt Herbert Adler Jacob Lawrence Opera Company Director Painter Conductor Erich Leinsdorf Margo Albert Conductor Performer/Arts Administrator Bernard Blas Lopez Martina Arroyo State Arts Agency Director Concert and Opera Singer Toni Morrison Thomas P. Bergin Author/Editor Educator I.M. Pei Theodore Bikel Architect Actor/Folk Singer Harold Prince Willard L. Boyd Director/Producer Museum Director Lida Rogers Norman B. Champ, Jr. State Arts Agency Director Arts Patron/Trustee James Rosenquist Maureene Dees Painter Community Theater Director Franklin Schaffner J.C. Dickinson, Jr. Film Director Museum Director Robert Shaw William H. Eells Conductor Arts Patron/Trustee Geraldine Stutz Martin Friedman Corporate Executive Museum Director Fashion Leader Arthur I.
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