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National Endowment for the Arts Annual Report 1977

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National Endowment for the Arts Annual Report 1977 Annual Rcport 1977 National National Endowmcnt Council for thc Arts on the Arts National Endowment for the Arts Washington, D.C. 20506 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, 1977. The fiscal year covered in this report preceded my tenure as chairman. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. September 1978 Contcnts The Agency and Its Functions 2 Chairmen’s Statements 6 Members, National Council on the Arts, Fiscal 1977 8 Aclvisory Panel Members and (~onsultants 10 1977-78 Challenge Grants 30 Grants by Programs Architecture q- Environmental Arts 32 Dance 38 Education 44 Expansion Arts 48 Federal-State Parmership 60 Literature 66 Media Arts 74 Museums 82 Music 94 ~ Special Projects 108 Theatre 114 Visual Arts 120 Financial Summary 134 History of Authorizations and Appropriations 136 Staff of the National Endowment for the Arts 139 Thc and lts " The National Foundation on the law m advise the Chairman on policies, Arts and the Humanities programs, and procedures. It also must In 1965, Congress created the National review and make recommendations on Foundation on the Arts and the applications for grants. Humanities as an independent agency The National Endowment for the Arts of the Executive Branch of the Federal The Natíonal Endowment for the Arts Government. The Act, Public Law is, in effect, ah independent federal 89-209, was last amended by Public agency, with its own Chairman, Na­ Law 94-462 in October 1976. The tional Council, staff, programs and Foundation is composed of the National budget. Endowment for the Arts, the National Both legislatively and by Council Endowment for the Humanities, anda policy, the Arts Endowment was con­ coordinating council of federal officials called the Federal Council on the Arts ceíved asa catalyst to increase oppor­ and the Humanities. The Foundation has no adminístrative of programmíng the Speaker of the House of Repre­ ídentíty separate from its components, sentatíves. Each of the two Endowments ís served The Federal Council promotes coor­ by its respecfive advisory body, the dination between the programs of the National Council on the Arts of the two Endowments and those of other National Councíl on the Humanities. federal agencies which support the arts and the humanities. It also undertakes ~ Federal Council on the Arts and the Humanities research related to these programs. In February 1978 President Carter de­ The Federal Council on the Arts and clared a more active tole for the Federal the Humanities ís composed of the Council and requested that ir carry out chairmen of the two Endowments (the a broad policy review of the cultural Arts and the Humanities), the Com­ activities of the federal government. missioner of Education, the Secretary Joan Mondale will serve as the Federal of the Smithsonian Institutíon, the Director of the Nafional Science Council’s honorary chairman, tunities for artists and to spur involve­ Foundation, the Librarian of Congress, The National Council on the Arts ment in the arts on the part of private the Director of the National Gallery Formed in 1964, the National Council citízens, public and private organiza­ tions, and the states and communities. of Art, the Chaírman of the Commis­ on the Arts preceded by one year the The Endowment’s relationship to the sion of Fine Arts, the Archivist of the establíshment of the Natíonal Founda­ primarily private and local cultural United States, a member desígnated by tion on the Arts and the Humanifies. community is one of partnership, in the Secretary of State, a member desig­ The Council is composed of the which the federal tole is to respond ta nated by the Secretary of the Interior, Chairman of the National Endowment for the Arts, who serves as Chairman the needs of the field rather than direct the Publíc Buildings Service Com­ of interfere in the creative activities of missioner of the General Services Ad­ of the Council, and 26 presidentially individual artists or cultural organi­ ministration, a member appointed by appointed citizens who are recognized zations. the Chairman of the Uníted States for their knowledge of the arts, or for Senate Commissíon on Arts and Anti­ their expertise of profound interest in quities, anda member appointed by the arts. The Council is mandated by Panel System In their work, the National Endowment for the Arts and the National Council on the Arts have the help of advisory panels-experts who serve the individual programs of the Endowment muchas the National Council serves the Endowment asa whole. Panel structures vary according to the ’ ~~ characteristics of each fiel& Usually, they are composed of artists, arts admin­ istrators, board members, critics, and others representing a wide range of Goals ~ In fiscal year 1977, the Endowment The Council and the Endowment have ~ had 12 major program areas. Eight divided their broad mission into three programs correspond to individual art basic goals: disciplines: Architecture + Environ­ I. A~ailability of the Arts / mental Arts; Dance; Literature; Media To promote broad dissemination of ~~-"f Arts: Film, Radio, Television (previ­ cultural resources of the highest quality; ~ ously called Public Media); Museums; 2. Cultural Flesources Development /j// Music; Theatre; and Visual Arts. Four To help cultural institutions provide programs ate interdisciplinary: Educa­ tion, Expansion Arts, Federal-State Part­ greater public service and to improve ~~ J artistic and administrative standards; nership, and Special Projects. Included 3. Advancement of Our Cultural Legacy asa subdivision ot: Special Projects is To support creativity among our most Folk Arts, which in fiscal year 1978 gífted artists, encourage the preservation knowledge and experience in the field, became a separate Endowment program. ot; our cultural herítage, and enhance and who reflect a broad geographic Each of the 12 programs provides the quality of life in our nanon, representation and a diveÆsity of grants in several funding categories, With Council advice and assistance, prol~essional viewpoints, ranging according to program flora four the Endowment pursues its basic mission More than 300 private citizens serve to 17. Endowment funding categoríes and goals through: on these panels. They ate appointed by this year total 110. Each program is ¯ Províding financial assistance in the the Chairman (generally for three- or different, and changes as necessary in form of grants to non-profit organiza- four-year terms) with the advice of response to the developing character­ tions, public of private, and to individ- Council and staff as well as other orga­ istics of the field it serves. uals of exceptional talent; and nizations and leaders in the fiel& Methods of Funding ¯ Pefforming a variety of leadership Panelists review grant applications, The Endowment’s grant funds ate ap­ functions, includíng technical assistance, evaluate past programs and advise Endowment staff and the National propriated by Congress in three separate research, disseminatíon of information, purses: development of pilot concepts, and Council on the Arts, whích is respon­ 1. Program Funds ($77.5 million advocacy on behalf of the arts. sible for final recommendations to the appropriated for fiscal year 1977) Chairman. Program Funds are used for grants to authorizing the Arts and Humanities organizations and individuals. Organiza­ Endowments for another four years. tions generally must match their grants The act reaffirmed the basic policies at least equally with funds acquired that guided the Arts Endowment elsewhere; grants to indíviduals usually through its first decade. It also provided are non-matching, a major new program. By law, not less than 20 percent of Challenge Grants the Endowment’s total program funds Under the Ghallenge Grant Program must be allocated among the state and the Endowment awarded grants to cul­ regional arts agencies. Three-fourths of tural ínstitutíons with national or this 20 percent must be used for Basic regional impact. Each grantee was re­ State Agency Grants, made in equal quired to match the grant on a ratio of amounts to the official arts agencies of at least three-to-one with money acquired all states and the five special jurisdic­ from new or increased funding sources. tions: Guam, American Samoa, Vírgin Islands, Puerto Rico and the Distríct of A $100 contribution, therefore, with the Typical uses of the challenge grants $100 in treasury funds ir frees, makes were to eliminate accumulated debts, to $200 available to the Endowment for establish or increase an endowment grants. When the Endowment makes a fund, and to acquire more adequate "Treasury Fund Grant," hall the dollars facilities and equípment. The challenge have been contributed and hall appro­ grants are available on a one-time basis priated by the Federal Government. to institutíons and groups of instítutions. When the grant is matched equally by Ir is anticipated that future challenge the grantee, the funded project ends up grants will be made annually. Art, his­ with $400:$100 from the Treasury tory, and science museums; dance and Fund and $300 from non-federal sources, opera companies; orchestras; community A gift to the Treasury Fund may be cultural centers; neighborhood arts con­ unrestricted as to its eventual use, but sortia; professional theaters, and regional contributors generally designate their medía centers were among the institu­ gift as part of an Endowment grant to a tions receiving grants. specific organízation or project. 3. Challenge Grant F~nds ($9 New Task Forces Columbia. In fiscal year 1977, the basíc million suFplemental approl~riated Fiscal year 1977 saw the formation of state agency grant was $205,000. ¥or fiscal year 1977) a number of task forces composed of 2. Treasury Funds ($7.5 million The Endowment’s challenge grants, members of the National Council for appropriated for fiscal year 1977) awarded for the first time in 1977, ate the Arts.
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