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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. I thank Dr. Candace Feck for offering her experience and sound advice, as well as jumping in to this project with great enthusiasm. The Lawrence and Isabel Barnett Fellowship enabled my graduate studies at Ohio State. I am forever grateful to Mr. and Mrs. Barnett for their dedication to the arts and education. I would like to thank the National Endowment for the Arts for the many resources the Agency provided me, including the grant recipient database, which was the basis for my database, and grant application guidelines. My research would not have been possible without the NEA’s assistance. Finally, I am indebted to my support system provided by family and friends. They have stood by me throughout this endeavor and provided unwavering encouragement. iii VITA April 29, 1978………………………........Born – Lexington, Kentucky 2000………………………………………B.A. Journalism, University of Kentucky 2006-Present……………………………...Communications Manager, BalletMet Columbus, Columbus, Ohio 2005-2006………………………………...Administrative Assistant, Ohio Cultural Facilitates Commission, Columbus, Ohio 2003-2005………………………………...Member, Treasurer, Arts Priori, The Ohio State University 2003-2005………………………………...Member, Central Ohio Student Advocates for the Arts, The Ohio State University 2003-2005………………………………...Barnett Fellow, The Ohio State University FIELDS OF STUDY Major Field: Arts Policy and Administration iv TABLE OF CONTENTS Page Abstract…………………………………………………………………………………....ii Acknowledgements…………………………………………………………………...….iii Vita…………………………………………………………………………………….....iv Table of Contents………………………………………………………………………....v List of Figures...……………………………………………………………………..…..viii List of Tables.…………………………………………………………………...……......ix Chapters: 1. Introduction….…………………………………………………………………….1 1.1 The National Endowment for the Arts……………………………………..….4 1.1.1 Matching grants………………………...…………………………...6 1.1.2 Panels…...…………………………………………………………...7 1.1.3 National Council on the Arts…………………...…………………...8 1.1.4 Dance discipline directors……………...……………..……………..8 1.1.5 Controversy breeds change………………...………..………………9 1.2 The dance field……………………………………………………………….14 1.2.1 The Ford Foundation………...……………………………………..15 1.2.2 Growth of the field………………...……………………………….16 1.3 Relationship between the NEA and the dance field……………………….…17 1.4 Research……………………………………………………………………...18 1.4.1 Relevant literature……………...…………………………………..18 1.4.2 Methodology...……………………………………………………..19 2. Literature review and grant database exploration..………………………………22 2.1 Impetus for restructuring: The Culture Wars………………………………...22 2.2 Perspectives from the field: Related literature………………………….…....24 2.2.1 Congressional testimony…………...………………………………29 2.2.2 NEA grant application guidelines…...……………………………..31 2.3 NEA annual reports 1991 – 2000: An analysis………………………………35 2.3.1 1991 annual report………………...……………………………….35 2.3.2 1992 annual report………………...……………………………….35 2.3.3 1993 annual report………………...……………………………….36 2.3.4 1994 annual report………………...……………………………….37 2.3.5 1995 annual report………………...……………………………….38 2.3.6 1996 annual report………………...……………………………….41 2.3.7 1997 annual report………………...……………………………….43 v 2.3.8 1998 annual report………………...……………………………….44 2.3.9 1999 annual report………………...……………………………….46 2.3.10 2000 annual report…….………………………………………….47 2.4 Dance grant database………………………………………………………...49 2.4.1 Observation through variables: Grant use categories……………...52 2.4.2 Observation through variables: Geography………………………..54 2.4.3 Observation through variables: Genre……………………………..55 2.4.4 Observation through variables: Grantee type……………………...56 2.4.4.1 Individual grantees……………………………………….56 2.4.4.2 Organization size………………………………………...57 2.4.4.3 Organization age…………………………………………59 2.4.5 Overview of findings………………………………………………60 3. Dance grant database observations………………………………………………65 3.1 Overview……………………………………………………………………..69 3.2 Geographic distribution analysis…………………………………………….72 3.2.1 Regional level analysis…………………………………………….75 3.2.1.1 Northeast…………………………………………………76 3.2.1.2 West……………………………………………………...77 3.2.1.3 South……………………………………………………..77 3.2.1.4 North Central…………………………………………….78 3.2.2 State level analysis………………………………………………....78 3.2.2.1 U.S. territories……………………………………………80 3.2.2.2 States that never received a grant………………………...81 3.2.3 Geographic distribution conclusion………………………………..82 3.3 Grantee type analysis………………………………………………………...84 3.3.1 Individual artists versus dance organizations…………………...…85 3.3.2 Age of organization………………………………………………...89 3.3.3 Size of organization………………………………………………..94 3.3.3.1 Overall observations……………………………………..96 3.3.3.2 Large……………………………………………………..97 3.3.3.3 Medium…………………………………………………..98 3.3.3.4 Large other……………………………………………….98 3.3.3.5 Medium other………………………………………….....99 3.3.3.6 Small other…………………………………………….....99 3.4 Genre distribution analysis…………………………………………………100 3.4.1 Modern……………………………………………………………103 3.4.2 Ballet……………………………………………………………...104 3.4.3 Folk/ethnic………………………………………………………..105 3.4.4 Other………………………………………………………….......106 vi 3.4.5 Mixed……………………………………………………………..107 3.4.6 Genre conclusion…………………………………………………107 4. Conclusion……………………………………………………………………...109 4.1 Summary of findings………………………………………………………..110 4.1.1 Geography findings……………………………………………….111 4.1.2 Grantee type findings……………………………………………..114 4.1.3 Genre findings…………………………………………………….115 4.2 Further research………………………………….…………..……………..117 4.3 Conclusion………………………………………………………………….118 Bibliography……………………………………………………………………………124 Appendices Appendix A: General nonprofit arts organization contributed income structure………129 Appendix B: National Endowment for the Arts appropriations history………………..130 Appendix C: National Endowment for the Arts chairman and dance program directors, 1965-present…………………………………………………………………………….131 Appendix D: National Endowment for the Arts funding distribution areas pre and post restructuring…………………………………………………………………………….132 Appendix E: Dance recipient database, 1991-2000…………………………………….133 vii LIST OF FIGURES Figure Page 1.1 National Endowment for the Arts budget, 1991-2000..…………………………..5 2.1 Total grants to dance organizations and individual artists, 1991-2000………….51 3.1 Obligations to the dance field, 1991-2000, in millions…………………………..66 3.2 Total grant obligations versus obligations to the dance field, 1991-2000……….67 3.3 Grant obligations to select discipline categories, 1991-1996……………………69 3.4 Total grants to dance organizations and artists, 1991-2000……………………..70 3.5 Percentage of total grant dollars to each region, 1991-2000…………………….75 3.6 Number of grants to individual dance artists, 1991-1995……………………….87 3.7 Dollars to individual dance artists, 1991-1995…………………………………..87 3.8 Percentage of grants to each age category, organizations only, 1991-2000……..91 3.9 Percentage of grants to each size category, organizations only, 1991-2000…….96 4.1 Dance grant distribution to the South, 1991-2000……………………………..112 4.2 Percentage of total dance grants to mixed genre individuals and organizations.116 viii LIST OF TABLES Table Page 1.1 National Endowment for the Arts budget, program obligations, obligations to dance, 1991-2000…………………..……………………………………………..6 1.2 Pre and Post restructuring grant process elements……………………………....11 3.1 Percentage of total grant obligations to the dance field, 1991-2000………….…67 3.2 Percentage of total grant obligations to select discipline categories, 1991-1996..68 3.3 Grants to the dance field by thematic category post-restructuring, 1997-2000….72 3.4 Top three ranking states by number of grants, 1991-2000………………………79 3.5 Top three ranking states by dollar amount, 1991-2000………………………….79 3.6 Grants and grant dollars to individual artists and organizations, 1991-1995…....86 3.7 Percentage of total grants to each dance genre category, 1991-2000………..…103
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