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National Endowment for the Arts Aual Report 1988

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National Endowment for the Arts Aual Report 1988 Z < oO National Endowment for the Arts Washington, D.C. 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, 1988. Respectfully, Hugh Southern Acting Chairman The President The White House Washington, D.C. May 1989 CONTENTS CHAIRMAN’S STATEMENT v THE AGENCY AND ITS FUNCTIONS vi THE NATIONAL COUNCIL ON THE ARTS vii PROGRAMS 1 Dance 3 Design Arts 19 Expansion Arts 31 Folk Arts 53 Inter Arts 63 Literature 77 Media Arts: Filrn/Radio/Television 89 Museum 103 Music 127 Opera-Musical Theater 163 Theater 173 Visual Arts 187 OFFICE FOR PUBLIC PARTNERSHIP 203 Arts in Education 205 Local Programs 211 State Programs 215 OFFICE FOR PRIVATE PARTNERSHIP 219 Challenge 221 Advancement 226 OFFICE OF POLICY, PLANNING, AND RESEARCH 229 Fellowship Program for Arts Managers 230 Intemational Activities 233 Research Division 236 Office for Special Constituencies 237 APPENDIX 239 Statement of Mission 240 Overview and Challenge Advisory Panels 241 Financial Summary 247 History of Authorizations and Appropriations 248 iii CHAIRMAN’ S STATEMENT "These sudden ends of time must give of the arts in our nation’s schools, gan in paying tribute to 12 recipients of us pause..." Waming of a "major gap between the the National Medal of Arts--including Year’s End stated commitment and resources avail- architect I.M. Pei, choreographer Richard Wilbur able to arts education and the actual Jerome Robbins, and actress Helen Poet Laureate of the United States practice of arts education in schools," Hayes--and to ten design professionals, 1987-88 the report is motivating school districts winners of Presidential Design Awards throughout the country to take its for such Federal projects as Tampa’s recommendations to heart. More than Sunshine Skyway Bridge, Chicago’s .q o it is that we report on 1988, a 180,000 copies of the report have been O’Hare Transit Line, and Boston’s sold or distñbuted. Toward advancing k,~ year in which the National Endow- Southwest Corridor Project. the goal of sequential arts education for ment for the Arts paused a great many On Capitol Hill, Members of Con­ times to recognize the very best of all students, kindergarten through high gress joined us in recognizing the value the arts in America. In all, we distrib- school--not just the gifted or college of our cultural heritage through the uted $156.3 million in Federal awards bound--I have been visiting school presentation of the National Heritage boards and classrooms across the na- through more than 4,600 grants. We Fellowships. Twelve folk artists--from are indebted to the scores of panelists tion. I can attest that the report has North Carolina’s legendary flat-picker and the National Council on the Arts been widely embraced and is, in fact, Doc Watson to Chicago’s champion whose counsel and commitment we so making a measureable difference. It has Irish stepdancer Michael Flatley to value, been endorsed by the U.S. Conference North Dakota’s 92-year-old bobbin In concert with our grant-making of Mayors, the National Association lacemaker Sr. Rosalia Haberl--were role, 1988 was ayear to assess and of School Boards, the professional cited us master practitioners of the analyze, a period to look objectively at associations of arts teac~ers, and a traditional arts. And all America stood the state of the arts in present-day majority of state arts agencies, with us in honoring the country’s America, and to examine critically the Last year challenged our leadership, second Poet Laureate, Richard Wilbur. prospects for improving the cultural advocacy, and administrative efforts, Between all the special tributes and literacy of our nation in the days, and inspiring within our Programs the kind reports, the Endowment continued to hopefully generations, ahead, of creativity and innovation demanded carry out its central mission--to reward With much pride, we released two of artists themselves. New categories and advance the highest ideals of reports to the President, Congress, and were christened, including Challenge artistry in the cultural life of America. the American people. We believe they III, which in its inaugural year provided Whether grants of $2,000 or $1 million, capture the essence of the arts in this $9.1 million in grants for 25 projects to a poet or a kora player, to the country us we begin to draw the curtain throughout the country for their poten- TOUCH Mime Theater in Carrboro, on the 20th century. The Arts in Amer- tial to advance the arts nationally. These North Carolina or the Metropolitan ica, the first of our biennial reports grants are helping provide greater Opera in New York City, to a landscape on the state of the arts in present-day compensation to theater artists in Balti­ designer or PBS’s "American Masters" America, provides on the one hand more, Maryland; a new museum in series, Endowment support was in a detailed look at individual arts disci- Laramie, Wyoming; space for dance in 1988 a stamp of excellence--a stamp plines, while on the other, examining New York City the television broadcast carefully affixed by panels of peers and major issues: the relationship between of arts performances in Lexington, proudly worn by the recipients listed here. the commercial and the not-for-profit Kentucky; a cooperative marketing plan arts sectors; increased attention to the for the arts in Cleveland, Ohio; and di versity of America’s cultures; the the recording of orchestral works by importance of international cultural past and contemporary women compos- exchange; and the relationship between ers in San Francisco, Califomia. f~~Z/~~~í/ governments and the arts, among them. During 1988 we once again honored Frank Hodsoll The other report, Toward Civilization, great artists and patrons. The Arts Chairman was a two-year study on the teaching Endowment joined with President Rea- February 1989 THE AGENCY AND ITS FUNCTIONS THE NATIONAL FOUNDATION ON NATIONAL ENDOWMENT FOR THE ENDOWMENT PANELS THE ARTS AND THE HUMANITIES ARTS The panels serve the individual Pro­ grams of the Endowment muchas the In 1965 Congress created the National The National Endowment for the Arts, an independent agency of the federal National Council on the Arts serves the Foundation on the Arts and the Human­ Endowment asa whole. Together the ities as an independent agency of the govemment, was created in 1965 to encourage and support American art Council and panels provide a system of executive branch of federal government, professional peer review to evaluate The foundation consists of the National and artists. Its major goals are to foster applications, identify problems, and Endowment for the Arts, the National artistic excellence by helping to develop develop the policies and programs Endowment for the Humanities, the the nation’s finest creative talent, to through which the Endowment responds Federal Council on the Arts and the preserve our cultural heritage in all its to changing conditions. diversity, to make the arts available Humanities, and the Institute of Mu­ More than 600 private citizens serve to wider, more informed audiences, and on these panels, whose membership seum Services. The Foundation is a to promote the overall financial stability legislative umbrella concept; it has no rotates regularly. Panelists are appointed of American arts organizations, by the Chairman with the advice of administrative or programming identity The Endowment serves as a catalyst the staff and Council members, as well separate from its components, to increase opportunities for artists and as organizations and leaders in the to spur involvement in the arts by field. private citizens, public and private NATIONAL COUNCIL ON THE ARTS organizations, and the states and com­ munities. The agency does not direct METHODS OF FUNDING or interfere with the creative activities Formed in 1964, the National Council of individual artists or arts organiza­ Grant money authorized by Congress on the Arts preceded by one year the comes to the Endowment in program tions. Rather, it acts asa partner with funds, the Treasury Fund, and Chal­ establishment of the National Founda­ the arts-support community, using tion on the Arts and the Humanities. lenge Grant funds. Most direct grants federal resources to develop and pro­ to organizations and individuals come The Council is composed of the mote a broadly conceived national from program funds. Program grants to Chairman of the National Endowment policy of support for the arts. arts institutions must be matched at for the Arts, who serves as Chairman of least dollar-for-dollar. the Council, and 26 presidentially The Treasury Fund arrangement appointed citizens who are recognized CHAIRMAN OF THE ENDOWMENT allows pñvate donors to pledge gifts to for their knowledge of the arts, or for specific Endowment grantees. Each their expertise or profound interest in pledge frees an equal amount for the The Chairman of the Arts Endowment grantee from the Treasury Fund, which the arts. The Council is mandated by is appointed by the President of the law to advise the Chairman on policies, is maintained at the Treasury Depart­ United States, with the advice and programs, and procedures. It also must ment. Grantees must then match the consent of the Senate, for a term of combined total of the donor’s pledge review and make recommendations on four years. The Chairman provides applications for grants, plus the Treasury Fund disbursement. overall direction to the work of the Challenge Grants are awarded for Council members serve six-year Endowment. By law, the Chairman projects that contñbute to the long-term terms, staggered so that roughly one- makes final decisions on policies, ñnancial stability of grantee organiza­ third of all the Council rotates every programs, procedures, and the awarding tions and must be matched on at least a two years, of all grants and contracts, three-to-one basis.
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