A LEGACY OF LEADERSHIP Investing in America’s Living Cultural Heritage Since 1965 NATIONAL ENDOWMENT FOR THE ARTS Library of Congress Card Number: 00-107057 First edition published by the National Endowment for the Arts in September 2000. National Endowment for the Arts A LEGACY OF LEADERSHIP Table of Contents Chairman’s Message ................................................................3 Building Strong Communities ................................................4–13 Bringing the Arts to New Audiences ....................................14–25 Keeping the Past Alive ......................................................26–37 Shining a Spotlight ..........................................................38–45 Sowing the Seeds for Success ............................................46–55 Responding to Crises ........................................................56–65 Transformations ................................................................66–77 Gifts That Keep on Giving ................................................78–87 Cultivating the Next Generation ..........................................88–95 Index ..................................................................................96 “Art is a nation’s most precious heritage. For it is in our works of art that we reveal ourselves, and to others, the inner vision which guides us as a nation. And where there is no vision, the people perish.” From the National Foundation on the Arts and the Humanities Act, signed by President Lyndon B. Johnson on September 29, 1965. Mission Statement The National Endowment for the Arts, an investment in America's living cultural heritage, serves the public good by nurturing human creativity, supporting community spirit, and fostering appreciation of the excellence and diversity of our nation's artistic accomplishments. Throughout its history, the National Endowment for the Arts has articulated the importance of the visual, literary, design and performing arts in America. This small federal agency—the only one devoted exclusively to nurturing creativity and preserving cultural heritage—has brought a sense of permanence, continuity and commitment to our nation’s art scene. On the occasion of the NEA’s 35th anniversary, it is appropriate that we celebrate our accomplishments even as we plan for the future. Since 1965, the Arts Endowment has conducted research, convened meetings of experts, and through publications and Congressional testimony, conveyed to an eager citizenry the exciting story of the arts in America. Importantly, the Endowment’s store of knowl- edge and expertise has supported our most visible work—the 115,000 grants to organizations and artists that have advanced the arts throughout the nation during the past and three-and-one-half decades. In the years since the NEA’s creation, the number of cultural non-profit organizations, state and local arts agencies and performing arts centers has grown dramatically. While the National Endowment for the Arts cannot claim all of the credit for the abundance of art enjoyed by Americans today, we have helped to fuel the increas- ing hunger for the visual arts, music, dance, drama and good design among American citizens. I firmly believe there is no more important investment in the creative future of the American people. All of us at the NEA are proud of our role as partner and leader. Every NEA grant is important; some are transforming. Because an Endowment grant can affect the shape of the cultural life of a community, NEA grants resonate for decades—long after the final bill is paid and the last faded poster is torn down. I understand the unique value of an NEA grant. In 1974, when I was just starting out as director of Nashville’s Country Music Foundation, an Endowment grant enabled us to commission Thomas Hart Benton to paint what was to become his last work, The Sources of Country Music. That painting had a lasting impact on the Country Music Hall of Fame and the community of Nashville. Americans need to know about grants like this one. This volume celebrates the Endowment’s grantmaking legacy by telling the stories of more than 50 projects that were transforming—projects that made a lasting difference to communities, individuals and organizations. These stories are special, but not unique. Each stands for dozens of additional stories—additional investments that have been just as significant. Today, our society stands on the threshold of exciting discoveries about the importance of art to the well- being of communities, young people, families and our nation. This volume speaks to the lasting value of a modest federal investment in America’s cultural life. These stories are a source of pride for every citizen, and they point boldly toward the lasting value of future engagement between our federal arts agency and the cultural life of our nation. Bill Ivey Chairman National Endowment for the Arts 3 CONTINENTAL HARMONY Millennium Brings New Musical Sounds Across America David City, Nebraska (pop. 2,500) is usually a rather quiet place. All that changed when it was chosen to become part of the Arts Endowment’s Continental Harmony National Millennium Project, the first-ever, nationwide music commissioning effort. Building Strong Communities In 58 locations across the country, organizations ranging from local choirs and jazz bands to chamber groups and symphony orchestras hosted composers of their choice for Continental Harmony residen- cies. Collaborating with local residents and musicians, the composers wrote and helped facilitate the performance of a new piece of music that reflects each community’s distinctive heritage and culture, as well as its dreams for the future. David City residents were shocked to discover they were chosen as a site. “At the same time we were delighted and scared to death to be selected,” says local organizer Bill Magargal. “This project has been so magical for our town and has given us such a wonderful sense of pride.” Composer Deborah Fischer Teason got a feel for David City by interviewing community elders, visiting area festivals and even driving a combine. She worked with a group of residents to write the lyrics for their five-movement composition entitled Heartland, which evoked the area’s rural traditions. They first came up with objects symbolizing each movement’s theme: quilting represents creativity and tradition, the windmill signifies agriculture, the barn illustrates community, mothers’ hands show the importance of family and storms convey the residents’ enduring spirit. Teason then put their words to music, includ- ing parts for a brass band and button accordions, reflecting the community’s Czech heritage. A local artist worked with a group of children to create murals representing each movement, which provided the backdrop for performances of Heartland. The $2.5 million Continental Harmony project was created by the American Composers Forum with help from the National Endowment for the Arts. “The support that the NEA gave made it happen,” notes the forum’s Project Director Patricia Shifferd. “We wouldn’t have been able to raise that kind of money without the Endowment’s stamp of approval.” 4 This cross-country pairing of 58 composers and communities is unparalleled in American history, according to Shifferd, and is being archived by the Library of Congress, in a PBS documentary and on a Web site. Many communities drew on their unique local heritage for the project. The Grand Canyon was the setting for Arizona’s composition featuring a combination of Native American and European musical instruments. In Mississippi, the project brought together groups of differ- ent races to create music reflecting their agricultural history. Farmington, Maine drew on its Franco-American and classical music traditions to produce a work that included folk music and fiddling. After many months of rehearsal in David City, Heartland made its debut in front of an enthusiastic crowd. “I’ve never seen such a reaction around here,” Magargal says. “The audience just jumped out of their seats to give us a standing ovation, which was surprising because people around here are generally so reserved.” Upper left: During her residency, composer Deborah Fischer Teason learns about David City’s Czech heritage from area accordion- ists. Upper right: Teason spends time with farmers to help her represent the community’s agrarian traditions in her composition. Above: Teason brainstorms with townspeo- ple to create the lyrics for their five-movement composition. Lower left: School children work with local artist Ruth Nichols to create murals relating to Heartland’s themes. Lower right: A brass band joins the community choir, a violinist and accordion- ists for many months of practice before the debut performance. All photos by Ruth Nichols. 5 CORNERSTONE THEATER COMPANY Creating a More Inclusive American Theater, One Neighborhood at a Time Growing up in South Central Los Angeles, Guillermo Aviles figured he had three options. He could work in a factory, become a drug dealer or join the military and escape. Becoming an actor never crossed his mind. Now he’s getting his Master of Fine Arts degree in theater at the University of California, San Diego. He claims a Cornerstone Theater community project changed his life. Building Strong Communities Fellow Watts resident Quentin Drew wanted to be an actor but lacked confidence. “I had sports to get out my aggression but I had no creative outlet to express my emotions,” Drew recalls. “Cornerstone gives community residents the