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Cultural Centers of Color: Report on a National Survey. INSTITUTION Nustats, Inc., Austin, TX

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Cultural Centers of Color: Report on a National Survey. INSTITUTION Nustats, Inc., Austin, TX DOCUMENT RESUME ED 368 663 SO 023 869 AUTHOR Bowles, Elinor TITLE Cultural Centers of Color: Report on a National Survey. INSTITUTION NuStats, Inc., Austin, TX. SPONS AGENCY National Endowment for the Arts, Washington, D.C. PUB DATE [92] NOTE 123p. PUB TYPE Reports Research/Technical (143) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS American Indians; *Art Education; Arts Centers; Asian Americans; Blacks; Community Role; Community Study; *Cultural Centers; *Cultural Enrichment; Cultural Influences; Cultural Pluralism; Elementary Secondary Education; Higher Education; Hispanic Americans; *Minority Group Influencus; *Minority Groups; Surveys ABSTRACT This document is a report on the achievements, work, and needs of African American, Asian American, Latino American, Native American and multiethnic arts organizations throughout che United States. The data analyzed in this report were developed through a 1990 survey report that provided statistical data and information about the programs, goals, aspirations, and problems of a wide variety of culturally diverse arts organizations. Within the broader field of more than 1,700 organizations that characterized themselves as servipg culturally diverse communities were some 543 that identified themselves as having more than 50 percent of their staffs, boards, artists, or audiences composed of members of the community they serve. This document is an illustrated analysis of the data focusing on these 543 arts organizations, supplemented by information gathered through extensive field interviews. The purpose of this report was to inform the field itself, as well as policymakers and funders about the nature, activities, and problems of these organizations. The document discusses the historical background in which growing awareness of the nation's cultural diversity has been influenced by four factors:(1) continuing cultural cross-fertilization; (2) efforts to validate indigenous U.S. art;(3) private and public sector initiatives to make a range of quality arts available to communities that have had little ..ss to major cultural institutions; and (4) efforts to validate thc contributions of diverse U.S. ethnic communities. Discussion icludes general characteristics and artistic discipline, ethnic communities, regional variations, critical issues, and profiles of 13 centers. A directory of the responding organizations is arranged by state. (DK) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. **7,.******************************************************************** U III DEPARTMENT OF EDUCATION Office ca Educational Rsearch snd Improyerm EDUCATIONAL RESOURCES INFORMATI, ' CENTER (ERIC) is documnt hiS beam reproduced reo.wed tram Ins person or organizal }6originating it 0 Minor chianti.. nave bairn made to mita' , reproduction Quality Pointe ot View or opinionsetated in th led mint do not nCossardy represen1 oft OERI position or policy 81L. erva n , r A zdgo, v. * Th 11411 -411, . - \11,7111 e',11(111( I 1 1). \ ii I Ii I , rz p , . t. t..4", 1./ !*h. 4 ".C. -T.', N. -.4 () C 1 . 1111.1+ ...1;i'lli:111111.11.1,-(:--,,- .1.LI ii PA; -c, '4 ir '4144*k 111riiridkidiii PRE FACE mommomiammallimi his report sets forth the achievements, work, and Is needsf Al.rican American, Asian \merican, Latino American, Na- tive Atilerican and multi-ethnic arts organizations, which enrich the lives of their communities throughout the United States today. Publication of this information was reconnnended by the Cultural Diversity Working Group at the National Endowment for the Arts, a staff planning group led by A.B. Spellman and given the responsibil- ity to develop ideas to help the Endowment in its efforts to promote the arts of all cultural groups. These organizations are an important vanguard in American culture. They make, present, and teach the ails in communities that are rich in Cullum/ Centen of (Wor wasdeveloped in cultural heritage but otherwise bereft of through an extensive survey of the field, arts institutions. Some tire preservationist, conducted on behalf of the National En- proudly reminding America of art forms dowment fOr the Arts by NuStats, Inc., of more ancient than the nation itself. Some Austin, Texas, in 1990. This survey was CL; are avant-garde. Often transfOrming tradi- sponsored by the Endowment's Research tion into new expressions fOr today anti the Division in consultation with the Expan- 21st century. Others en- sion Arts Program, which A. B. Spellman Raven, a super- rich their communities directs and :dlich had identified the need natural personage, with the classical fOrms to examine the present size, shape, and speaks to Native of Europe, Asia, Africa, characteristics of the field it serves. Since Americans in and I.atin America, To- 1971 the Expansion Arts Program has pro- remote Alaskan gether thcv bring to vided support fOr the projects of' profes- villages and to Amedca a deeper, more sional arts organi-,ations that are deeply audiences in the varied, and richer par- rooted in and reflective of culturally "lower 48" during tieipation in the arts diverse, inner-city, rural, or tribal commu- tours by the Naa than any other nation nities. Kahidi Theater. enjoys. Completed ill November 1991, the sur- The data analyzed vey report provided ;in enormous amount Jo of statisticAl data as well as information blems of these organizations. Copies of about the programs, goals, aspirations, this book will be distributed to all arts or- and problems of a wide variety of culturally ganizations that responded to the NuStats diverse arts Organizations responding to survey, stintti ts agencies, regional arts this survey. Within the broader field of organizations, ats service organizations, more (hail 1,700 Organizations that charac- and Grannnaker in the Arts fOundations. terized themselves as serving culturally it will also be available to the public on diverse communities were some 5,13 that request. We believe the infOrmation it pro- identified themselves as haying more than vides yill encourage new policies, in- 50 percent of their staffs, hoards, artists, creased support for and dialogue with and/or audiences composed of members these important and worthy arts organiza- of the community they serve. The Endow- tions. 101 ment contracted with writer-editor Hinor Bowles in the fall of 19"I to produce an il- lustrated analysis of the data fOcusing on Alt,,,z4,46,At. these 5.13 arts organizations, supplement- Anne-Imelda Riulice ed bY information gathered through ex- ActingChairman tensive field interviews. Cullural Cenlers of Colorexamines the National Endowment for the Arts NuStats data to describe this group of Washington, organizations its a whole, bv artistic disci- Augtist 1992 pline, by ethnic community, andhVreg1011. The NIIStals data thus provides tts tvith snapshots oldie field in1 9(,10, from a num- ber of pet spectives. To supplement what could Icarlicd rioin analysis or die datat Elinor Bowles undertook more than 30 interviews ill major urban centers, kir fur- ther insight into the field, its history, and the challenges currently confronting its organ iziu m S. Developed lioni itifOrmation prmided bv Ilit.orgainialions interviewed were a baker's dozen>f profiles. augmenting the necessarily somewhat ahstract information provided by the survey data with it closer look at some of the organizations them- selves. Clearly, the ,:rganizations included here are not a kill cross section, nor limit- ed as they are to a few major cities shoukl they be considered a representative sam- ple of the enormous variety of culturally diverse itrts organizations active ill the United States today. Rather, the organiza- tions included here Were selected to make some salient points or to illustrate matters raised in the text. Guadalupe Garcia "I'he purpose of this report is to help performs Ltzs inform the field itself, as well as policymak- Momias at the ers and funders throughout the United Mexican Museum. States about the nature, activities and pro- 11 8 Coureizni.CENTERS OFCOLOR 020 rtigael .1 A 110 0 4 4 4 ' ?i 41 %4 / 1 4 h4e. A 4 :1 ....allb. ...I -)11,7 - , St- 3 JR, oar -4"506 4 9 1 2' Preface -..;;;Op 400,14, or. 'S ibillArktfif.,444/14.1,C fA v* Aga. ""1.... ,N,,, , 4..,.. ,st7,.; ' i44- recq k . r ( i sy.. , : ..Y i4 , "1' '4:2 -4-: , 4 Z ' - " * "It.. l'i i',. .1" '1st 1 ' ji ; ' ..""aliP'1:?it:41111.11* ,,,,I, ?Ai' ': VA41' WIfi 1' *,. 1 4' .., ' INTRODUCTION 111111111 hroughout the United States, in storefronts; in reno- vatedarehouses, churches and synagogues, bell towers, schools, and fii-e stations; in abandoned m'ansions and converted garages; in downtown office buildings; in newly designed buildings; in art and cultural complexes, the arts organizations of diverse ethnic commu- nities help vast numbers of people from all walks of life make, expe- rience, and comprehend art. In the process, they help Americans to understand who we are as a nation as we approach the 21st century. 44.), While undergoing the stresses and strains of institution build- ing and the vagaries of funding, these organizations have demon- strated artistic Vision, creative managerial nation's diverse cultural heritage. Urban problem solving, and a commitment to Gateways in (',hicago, one of the pioneer- their communities. Above all, they have ing organizations in the field of multi-eth- manifested a humanistic ethos that infOrms nic arts education, brings perfOrmances and sustains them. Al- .<in(1
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