List of Participants

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22001111 LLiisstt ooff PPaarrttiicciippaannttss Ellen Alberding, President, The Joyce Foundation Moises Kaufman, director and playwright, “The Jane Alexander, actor; former Chairman, National Laramie Project” Endowment for the Arts Robert L. Lynch, President and CEO, Lin Arison, Founder, National Foundation for Americans for the Arts Advancement in the Arts and YoungArts Anand Mahindra, Vice Chairman and Managing Delali Ayivor, YoungArts Level I Winner in Writing Director, Mahindra & Mahindra Ltd., India (Poetry) Cara Mertes, Director, Documentary Film Program and Barbara Schaffer Bacon, Co-Director, Animating Fund, Sundance Institute Democracy, Americans for the Arts Jeremy Nowak, President, William Penn Foundation Ann Beeson, Senior Fellow, Open Society Foundations Patrice O’Neill, filmmaker, “Not in Our Town” Angad Bhalla, filmmaker, “Herman’s House” Zachary Ostroff, YoungArts Silver Winner (Jazz) Albert Chao, President & CEO, Westlake Chemical Keri Putnam, Executive Director, Sundance Institute Margaret Coady, Director, Committee Encouraging Lisa Garcia Quiroz, Senior Vice President, Corporate Corporate Philanthropy Responsibility; Chief Diversity Officer, Time Warner Inc Joe Dilg, Managing Partner, Vinson & Elkins, LLP The Honorable Elizabeth Roberts, (Chairman, BCA Executive Board) Lt. Governor of Rhode Island Ken Fergeson, Chairman, NBC Oklahoma (Chairman, William Roper, President and CEO, Orton Family Americans for the Arts) Foundation Victoria Newton Ford, YoungArts Silver Winner Dennis Scholl, Vice President/Arts, (Writing) John S. and James L. Knight Foundation Rha Goddess, President and CEO, Edgar Smith, CEO, World Pac Paper Move the Crowd, LLC Jonathan Spector, President and CEO, Marian Godfrey, Chair, National Arts Policy The Conference Board Roundtable; Senior Director of Culture Initiatives, Diane Swonk, Senior Managing Director and Chief The Pew Charitable Trusts Economist, Mesirow Financial Robert Gupta, First Violinist, LA Philharmonic and Stanley Tucci, actor, board member, Founder/Director, Street Symphony Sundance Institute Lee Hirsch, filmmaker, “The Bully Project” Laura Zucker, Executive Director, LA County Arts Frank Hodsoll, President, Resource Center for Arts Commission and Culture; former Chairman, National Endowment for the Arts Bill Ivey, Director, Curb Center for Arts, Enterprise, and Public Policy, Vanderbilt University; former Chairman, National Endowment for the Arts .

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Chapter 13: “Fostering Civic Engagement Through the Arts: a Blueprint” by Devereaux
Chapter 13: “Fostering Civic Engagement Through the Arts: A Blueprint” by DeVereaux Art Policy and Advocacy Policy Quest The aim of this assignment is for you to learn about some of the important issues, events, and individuals in the history of arts policy in the United States. At the same time, you will be gaining research skills that will help you improve your research capacity in this course and others. The questions posed are intentionally posed in a way that requires you to do research and a bit of problem-solving to figure out exactly what information in needed. With that said, in this assignment, you should find information to respond to the posed questions by any means you can! What that means is that it is not readily obvious how you should answer the questions, where you should go to find the answers, or what answers are required. As a graduate student, you will encounter similar situations when you are conducting research for papers and projects you will complete. The ability to develop your own research leads based on vague or ambiguous ideas has great value for this reason. Keep in mind that “research” does not just pertain to looking things up in books. As a researcher, you should begin to discover the multiple ways you can track down data. A savvy researcher might, in fact, begin with a subject librarian who can show ways to facilitate the search. Before beginning this assignment, note that: All questions relate to the fields of arts management and arts policy, so you should find answers for each that relate to these areas.
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NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965.
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Arts Advocacy and the National Endowment for The
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800*521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. ARTS ADVOCACY AND THE NATIONAL ENDOWMENT FOR THE ARTS: FORGING AN EFFECTIVE PARTNERSHIP by Jungmo Kang submitted to the Faculty of the College of Aits and Science of American University in Partial Fulfillment of the Requirements for the Degree of Master of Aits in Aits Management Robert Goler Brett A.
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Rocco Landesman Announces "Art Works"
The Nancy Hanks Center 1100 Pennsylvania Avenue NW Washington, DC 20506-0001 202/682-5400 www.arts.gov EMBARGOED UNTIL 12 P.M. ON TUESDAY, OCTOBER 21, 2009 FOR IMMEDIATE RELEASE October 21, 2009 ROCCO LANDESMAN ANNOUNCES “ART WORKS” TOUR AT THE 2009 GRANTMAKERS IN THE ARTS NATIONAL CONFERENCE NEA Chairman to visit Peoria, Illinois, as first stop Brooklyn, NY –National Endowment for the Arts Chairman Rocco Landesman delivered a keynote address today to close the 2009 national Grantmakers in the Arts conference: Navigating the Art of Change. In his remarks, Chairman Landesman laid out the guiding principle that will inform his work at the agency, which can be summed up in two words: “Art works.” Chairman Landesman explained that he means this in three ways: 1. “Art works” is a noun. They are the books, crafts, dances, designs, drawings, films, installations, music, musicals, paintings, plays, performances, poetry, textiles, and sculptures that are the creation of artists. 2. “Art works” is a verb. Art works on and within people to change and inspire them; it addresses the need people have to create, to imagine, to aspire to something more. 3. “Art works” is a declarative sentence: arts jobs are real jobs that are part of the real economy. Art workers pay taxes, and art contributes to economic growth, neighborhood revitalization, and the livability of American towns and cities. Chairman Landesman announced that he will spend the next six months learning and highlighting the ways that art works in neighborhoods and towns across America. This national tour will begin on Friday, November 6, 2009 with a visit to Peoria, Illinois, at the invitation of Kathy Chitwood, executive director of the Eastlight Theatre, and Suzette Boulais, executive director of Arts Partners of Central Illinois.
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Mapplethorpe, Cultural Crisis, and the NEA
Colby College Digital Commons @ Colby Undergraduate Research Symposium (UGRS) Student Research 2006 Socio-cultural Degeneration and State Patronage of the Arts: Mapplethorpe, Cultural Crisis, and the NEA Greyson C. Brooks Colby College Follow this and additional works at: https://digitalcommons.colby.edu/ugrs Part of the Art Practice Commons, and the Other Arts and Humanities Commons Recommended Citation Brooks, Greyson C., "Socio-cultural Degeneration and State Patronage of the Arts: Mapplethorpe, Cultural Crisis, and the NEA" (2006). Undergraduate Research Symposium (UGRS). 5. https://digitalcommons.colby.edu/ugrs/5 This Article is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Undergraduate Research Symposium (UGRS) by an authorized administrator of Digital Commons @ Colby. G. C. Brooks AY 452 Besteman Greyson C. Brooks 19th May 2006 Anthropology 452 Final Research Paper Professor Besteman Socio-cultural Degeneration and State Patronage of the Arts: Mapplethorpe, Cultural Crisis, and the NEA God forbid we ever have a government policy for the arts, per se. That would remind me of Nazi Germany, or something of that sort, where the government sets what the policy should be. It should not. - Senator Claiborne Pell, Chairman of the Subcommittee of Education, Arts and the Humanities of the Committee on Labor and Human Resources, June 26th, 1979; as quoted in (Henderson 2005: 29). If the Endowment is to survive, we will have to start making legislative distinctions between the preservation and dissemination of time-tested art treasures… and contemporary art still in the aesthetic laboratory, which will have to be supported by private foundations and patrons.
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Thesis Proposal
THE NEA AND THE DANCE FIELD: AN ANALYSIS OF GRANT RECIPIENTS FROM 1991 TO 2000 THESIS Presented in Partial Fulfillment of the Requirements for the Degree Masters of Arts in the Graduate School of The Ohio State University By Jennifer Ann Sciantarelli ***** The Ohio State University 2009 Thesis Committee: Approved by Professor Margaret Wyszomirski, Advisor Professor Candace Feck ___________________________________ Advisor Arts Policy and Administration Program Copyright by Jennifer Ann Sciantarelli 2009 ABSTRACT The National Endowment for the Arts has been instrumental in the development of the dance field in the U.S. In the mid-1990s, the Agency transformed. Its budget was cut by 40 percent and the grant distribution process was restructured. The effects of restructuring on the dance field are examined in this study. NEA grants to the field from 1991 to 2000 were compiled into a database and explored through three distribution lenses: geography, genre and grantee type. When the NEA was restructured, artists prophesied disaster. In fact, data reveals that the field adapted to changes in federal subsidy and grew decentralized, diversified and connected to communities. After restructuring, while the dance field received less funding from the NEA, it maintained a consistent proportion of NEA grant dollars in comparison with other arts fields. This shows that the field can overcome obstacles, remaining competitive and vital to the American cultural landscape. ii ACKNOWLEDGMENTS I thank my advisor, Margaret Wyszomirski, for her guidance during my years in the Arts Policy and Administration program at Ohio State, as well as her patience during my thesis process. Dr. Wyszomirski also provided an invaluable collection of literature, including her set of NEA annual reports.
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NEA Annual Report 12/6/99
NATIONAL ENDOWMENT FOR THE ARTS 1100 PENNSYLVANIA AVENUE, NW WASHINGTON, DC 20506-0001 National Endowment for the Arts 1998 Annual Report Inside covers Blank The President The White House Washington, D.C. Dear Mr. President: It is my pleasure to transmit the Annual Report for Fiscal Year 1998 of the National Endowment for the Arts. Since its founding by the U.S. Congress in 1965, the National Endowment for the Arts has awarded approximately 110,000 grants that have led to the flourishing of the arts in America and have greatly enriched the lives of Americans everywhere. Small and large museum exhibitions, touring theater productions, arts classes for young people, televised concerts, folk arts festivals, innovative partnerships with private and public organizations — the National Endowment for the Arts is a hallmark of all these and more. Endowment grants this year supported projects ranging from a film retrospective of Paul Robeson in Philadelphia to a Latino performing arts series in Lawrence, Kansas to an elementary school music program in Nashville. Funds also went towards a folk art apprenticeship program in Carson City, Nevada; the publication of an anthology of Alaskan native writers and storytellers; and world premiere dance performances in Houston. I am especially proud of our new ArtsREACH program, inaugurated in 1998. This initiative provides direct grants to organizations in 20 states where the agency’s direct grant recipients have been traditionally underrepresented. It assists communities in those states with the development or implementation of cultural plans — thus advancing the arts in new areas of our nation. Reflecting the rich diversity of the American people, the arts help us to remember the past, under- stand each other in the present, and express our dreams for the future.
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(NEA) Heritage Assets, 2016
Description of document: Inventory of items that comprise The National Endowment for the Arts (NEA) Heritage Assets, 2016 Requested date: 2016 Released date: 03-March-2016 Posted date: 21-March-2016 Source of document: FOIA Requests Office of General Counsel National Endowment for the Arts 400 7th Street, SW Washington, DC 20506 Fax: 202/682-5572 Email: [email protected] The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. From: FOIA Date: Mar 3, 2016 5:01:09 PM Subject: RE: FOIA Request to NEA Dear Sir: This e-mail responds to your request for records under the Freedom of Information Act (FOIA), 5 U.S.C.
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National Endowment for the Arts
NATIONAL ENDOWMENT for the ARTS A BRIEF HISTORY 1965-2006 An Excerpt: THE BEGINNING THROUGH THE HANKS ERA NATIONAL ENDOWMENT for the ARTS A BRIEF HISTORY 1965-2006 An Excerpt: THE BEGINNING THROUGH THE HANKS ERA “The arts and sciences are essential to the prosperity of the state and to the ornament and happiness of human life. They have a primary claim to the encouragement of every lover of his country and mankind.” George Washington to Rev. Joseph Willard I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.” John Adams to his wife Abigail Adams Digitized by the Internet Archive in 2015 https://archive.org/details/nationalendowmen00nati_1 Preface welcome to this celebratory symposium of the 40th anniversary of the National Endowment for the Arts. We hope you’ll find these three days an informative, enlightening, and enlivening opportunity to understand the enormous effect the Arts Endowment has had on America’s artists, arts organizations, and audiences over the past four decades. At the end of this anniversary year, we will be publishing a brief history of the NEA that will look at the genesis and genius of a government agency created solely to foster creativity and bring the best of the arts to all Americans. The story of the birth and growth of the Arts Endowment is uniquely American and has shaped artistic endeavors in our communities for nearly half a century.
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August 2004 A-L
Art in the Public Square: Democracy and the Associational Life of Culture in America Dustin Mark Kidd Greenwood, Virginia B.A., James Madison University, 1996 M.A., University of Virginia, 1999 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Sociology University of Virginia - - ..- .. August 2004 A-L j 2 Abstract: This dissertation examines government funding for the arts through the lens of democratic political philosophy. Recent scholarship has established an important relationship between participation in civic associations and the success of democratic political institutions. I use democratic theory to argue that artistic practices are an overlooked form of associational life that can make unique contributions to democratic effects at the levels of the individual, political institutions, and the public sphere. Specifically, I identify the positive democratic benefits of community arts and counter- hegemonic arts, in contrast to the anti-democratic effects of the elite arts. I then make use of the theory through an examination of the controversies that affected the American art world-especially the National Endowment for the Arts-in the late 1980s and early 1990s, finding that the points of controversy actually stem from the most democratic artistic practices. The theoretical approach used here stands as a counter-point to the work of Bourdieu and others who have focused their study of the arts solely on the elite arts and the role of the arts as mechanisms of hegemonic' social reproduction. I provide a framework for recognizing the ways that art can actually function for anti-elite purposes and serve as a means of challenging hegemony.
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A Declaration of Interdependence a Dissertation
UNIVERSITY OF CALIFORNIA Los Angeles U.S. Dancemakers: A Declaration of Interdependence A dissertation completed in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Culture and Performance By Sarah Marie Wilbur 2016 © Copyright by Sarah Marie Wilbur 2016 ABSTRACT OF THE DISSERTATION US Dance Makers: A Declaration of Interdependence by Sarah Marie Wilbur Doctor of Philosophy in Culture and Performance Studies University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Committee Chair Who makes a dance? While no method of studying cultural production can possibly include all the people, practices, and procedures that “make” artistic works possible, dance scholars have yet to centralize dance’s infrastructural politics as a topic of research in its own right. My dissertation project looks at dance “making” -- the resourcing, staging, and legitimization of dance performance -- as the product of multiple agents and agencies. To flesh out how dance is practically produced through a dynamic network of intermediaries, I combine archival accounts of federal arts policy production at the US National Endowment for the Arts (NEA) with ethnographic research and interviews with lifelong dance “makers,” a large group that includes NEA senior leadership, administrators, citizen advisors, and NEA funded dance presenters, managers, booking agents, artists, and organizers. This emphasis on dance’s many authorial agents protests modernist understandings of the choreographer-as-autonomous producer of dance “texts” through a situated review of how people collectively fashion authorizing rhetorics, ii programs, and procedures at the NEA and in local, NEA supported dance contexts. I trade close interpretive analysis of dance texts for a processual account of infrastructural “norms” and local translations across the agency’s fifty-year lifespan.
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