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NationalEndowmentfortheArts

1999AnnualReport

Mission Statement

The National Endowment for the Arts, an

investment in America's living cultural her-

itage, 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.

The President

The White House

Washington, D.C.

Dear Mr. President:

It is my pleasure to transmit the Annual Report for Fiscal Year 1999 of the National Endowment for

the Arts.

From our nation’s largest metropolitan areas to its smallest rural communities, the National

Endowment for the Arts is dedicated to serving all Americans. Since its creation by Congress in

1965, the NEA has awarded grants that support projects of the highest artistic quality to benefit the

American people. As the largest single funder of the nonprofit arts in the United States, the NEA

has awarded more than 113,000 grants in all 50 states and the six U.S. jurisdictions.

NEA grants in Fiscal Year 1999 supported a wide range of projects. For example, South Dakotans

for the Arts in Deadwood assisted the Dakota Children’s Theatre Company tour to South Dakota

elementary and middle schools. The Little City Foundation’s Creativity on Wheels program in

Palatine, Illinois brought art classes to people with limited mobility. The Western Pennsylvania

Conservancy helped save Frank Lloyd Wright’s landmark house, Fallingwater, from impending col-

lapse. The Walters Art Gallery in Baltimore received funding for the conservation and reinstalla-

tion of their stellar collection of Christian medieval art, and the New Orleans Ballet Association

led a community partnership teaching dance to inner-city students and families.

This year also saw the release of our new strategic plan, the second year of our ArtsREACH pro-

gram, and several NEA Millennium Projects that touched all 50 states, celebrating the turn of the

millennium by involving local communities in the creation of artistic works. On a smaller but critically

important level, the NEA demonstrated its commitment to at-risk youth through two new initiatives

undertaken in collaboration with the Department of Justice.

The activities highlighted in this annual report attest to the breadth of work of the Arts Endowment

and its commitment to nationwide service. We are proud of the leadership the NEA provides to our

diverse nation and to the advancement of our country’s cultural legacy.

Bill Ivey

Chairman

Sechs Tanze by choreographerJiri Kylian was one of thepieces performed by HubbardStreet Dance Chicago on itstours throughout the U.S.Photo by William Frederking

Letter From the Chairman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

1999: The Year in Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

National Council on the Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Grants to Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Creation & Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Education & Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Heritage & Preservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Planning & Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Grants to Individuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16Literature Fellowships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16American Jazz Masters Fellowships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18National Heritage Fellowships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

State and Regional Partnerships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Leadership Initiatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22National Millennium Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22International Exchanges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23AccessAbility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24ArtsREACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25Folk & Traditional Arts Infrastructure Initiative . . . . . . . . . . . . . . . . . . . . . . . . . .26Interagency Partnerships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27Other Initiatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Policy Research & Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

National Medal of Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Panelists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Financial Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Appropriations History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Chris Martin, age 7, rehearses with actor Richard Ortega-Miro in Commercial Interruptions. The production was part of the One-on-One Program of the Virginia Avenue Project, based in Santa Monica, California. Photo by Robert Silberling

Cover photo information: see credits page.

Contents19 9 9 A N N U A L R E P O R T

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1999: TheYear in Review

highlight of Fiscal Year 1999, the second year of Chairman Bill Ivey’s leadership of the ArtsEndowment, was the release and public dissemination of the agency’s new strategic plan

for the years 1999-2004. The plan was developed the preceding year by agency staff, based on theChairman’s priorities, through a process of analyzing and reshaping the NEA’s vision, mission andgoals. State arts agencies, regional arts organizations and arts service organizations were consult-ed during the plan’s formulation. As required for all federal agencies by the GovernmentPerformance and Results Act, the plan includes specific program goals with measurable outcomes.Goals, objectives and measures in the broad areas of access, creativity, arts education, heritagepreservation, organizational stability, community arts development and partnerships are set forthin the final plan, available on the NEA Web site at www.arts.gov.

Based on the strategic plan, during Fiscal Year 1999 Chairman Ivey first proposed the ChallengeAmerica initiative that was included in President Clinton’s budget request to Congress for future-year funding. The proposed initiative targets support to arts education, services for young peo-ple, cultural heritage, community partnerships and expanded access to the arts. The same year,Chairman Ivey traveled extensively throughout the country, giving speeches and meeting withleaders of cultural, business, education and civic groups, including the U.S. Conference of Mayors,chambers of commerce and Rotary Clubs.

Total appropriated funds for Fiscal Year 1999 were $97,966,000, down slightly from the 1998 levelof $98,000,000 due to an across-the-board rescission enacted by Congress to offset the EmergencyOil and Gas Bill. During 1999, the Endowment continued its activities in accordance with the

1998-enacted Congressional mandates: a 15 percent cap on thetotal amount of NEA grant funds awarded to arts organizationsin any one state, excluding projects of national significance ormulti-state impact; an ongoing emphasis on agency outreachthrough projects for underserved populations; and the distri-bution of 40 percent of agency grant funds to the 56 state andjurisdictional art agencies.

In Fiscal Year 1999 the Endowment awarded over 1,600 grantstotaling $82.6 million in the areas of Grants to Organizations,Grants to Individuals, Partnership Agreements and LeadershipInitiatives. The ArtsREACH program, which began in FiscalYear 1998 and served 20 states previously underrepresented inthe agency’s pool of direct grant recipients, again funded the

TheYear inReview

The National Endowment for the Arts, an investment in America’s living cultural heritage, wasestablished by Congress in 1965 as an independent federal agency. Its mission is to servethe public good by nurturing human creativity, supporting community spirit, and fosteringappreciation of the excellence and diversity of our nation’s artistic accomplishments.

A grant to the Da CameraSociety of Mount SaintMary’s College in LosAngeles supported 12Chamber Music in HistoricSites concerts and relatedoutreach activities.Featured here is violinistKyoko Kashiwagi of theAmernet String Quartetwith students from theUtah Street ElementarySchool. Photo courtesy ofthe Da Camera Society

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19 9 9 A N N U A L R E P O R T

development and implementation of local cultural plansthrough community partnerships of arts and non-arts organ-izations. During its first year, the program increased the num-ber of NEA direct grants in the targeted states by more than350 percent.

The Folk & Traditional Arts Infrastructure Initiative, also begun in 1998, continued to serve thefolk and traditional arts nationwide by funding research, documentation and preservation, pro-fessional staff support, and broad dissemination of art forms through instruction, performancesand exhibitions. New in 1999 was a partnership project with the U.S. Department of Justice’sOffice of Juvenile Justice and Delinquency Prevention that aims to prevent juvenile crime throughparticipation in arts programs. The Endowment also helped Americans celebrate the arrival of thenew millennium by funding a wide range of National Millennium Projects, bringing new artis-tic works to new audiences and communities across the country.

During 1999, the Endowment conducted a comprehensive assessment of its support for arts orga-nizational development through Planning & Stabilization grants. The agency convened leadersfrom the cultural, educational, philanthropic, technological and business sectors in a series of ninecolloquia held in Washington, D.C. that were open to the arts community. The series examinedsuch issues as audience development, funding partnerships, information technology, leadershipdevelopment and capitalization strategies for arts organizations.

The Endowment further served the arts field and the public by expanding the resources availableon its Web site. An example is Lessons Learned: A Planning Toolsite, an on-line collection of arti-cles by arts professionals in the areas of audience building, capital campaigns, strategic planning,community partnerships and social enterprise.

Six seats on the 20-member National Council on the Arts again were designated by law forCongressional members serving in a non-voting, ex officio capacity. Other Council members wereprivate citizens appointed by the President and confirmed by the Senate. The Council contin-ued to advise the Chairman on policies and programs; screen nominations from the publicfor the National Medal of Arts; and provide a second level of grant proposal review. Panelsof experts, including arts professionals and knowledgeable laypersons, provided the ini-tial review of all grant applications.

This publication reflects the Endowment’s grantmaking structure that began in Fiscal Year1997 and remains in effect. It presents a representative sampling of the agency’s activ-ities that took place between October 1, 1998 and September 30, 1999. The year’sfinancial transactions and a history of NEA appropriations are included at the end.Grant applications, publications, research reports, the NEA’s strategic plan andcomplete lists of Fiscal Year 1999 grants, cooperative agreements and inter-agency transfers are available on the Endowment’s Web site at www.arts.gov.These items may also be obtained by written request to the NEA Office ofCommunications, or by calling the National Endowment for the Arts at 202-682-5400.

Points of Departure: Art on theLine is a series of site-specificinstallations in historic trainstations along Philadelphia’sMain Line developed by theMain Line Art Center inHaverford, Pennsylvania.Pictured here is Lounge 1999by artist Kay Rosen at theWynnewood Station. Photo byGregory Benson

Caroline Clay portrays a saxophone player searchingfor her sound in this scenefrom Oo-Bla-Dee performedby the GoodmanTheater/Chicago TheaterGroup in Chicago. Photo byLiz Lauren

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National Council on the Arts

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Member whose term expired in 1998*

Judith O. RubinState Arts Council Member New York, NY

Members whose terms expire in 2000

Patrick D. DavidsonTelevision Producer Camarillo, CA

Terry H. EvansPhotographerChicago, IL

Ronnie F. HeymanPatron, TrusteeNew York, NY

Speight JenkinsOpera Company DirectorSeattle, WA

Richard J. SternPatron, TrusteeChicago, IL

Luis ValdezTheater Company DirectorSan Juan Bautista, CA

Townsend D. Wolfe IIIMuseum DirectorLittle Rock, AR

*Continues to serve until a successor takes office.


Joy HarjoPoet, MusicianHonolulu, HI

Nathan LeventhalArts PresenterNew York, NY

Marsha MasonActress, DirectorSanta Fe, NM

Joan SpecterArts PatronPhiladelphia, PA


Gordon DavidsonTheater Director/ProducerLos Angeles, CA

Cleo Parker RobinsonDance Company Director/ChoreographerDenver, CO

Ex officio members (terms expire in 2000)

Cass Ballenger (R-NC)U. S. House of RepresentativesHickory, NC

Mike DeWine (R-OH)U.S. SenateColumbus, OH

Richard J. Durbin (D-IL)U.S. SenateSpringfield, IL

Nita M. Lowey (D-NY)U.S. House of RepresentativesHarrison, NY

Jeff Sessions (R-AL)U.S. SenateMobile, AL

(vacant)U.S. House of Representatives

Bill Ivey, Chairman

Fiscal Year 1999 FactsGrants to Organizations

Number of Grant Applications Received: 2,317

Number of Grants Awarded: 1,368

Dollar Amount of GrantsAwarded: $38,890,067

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hrough its Creation & Presentation grants, the ArtsEndowment assists in the creation of artistic work

and encourages the public presentation of art forms from allcultures and time periods. Creation & Presentation was thelargest award category in Fiscal Year 1999, receiving 43 per-cent of all Grants to Organizations applications. Fundedprojects provide resources for artists to create their workthrough such activities as commissions, residencies,rehearsals, workshops and design charrettes.

Projects also facilitate the public presentation of the arts toaudiences in a variety of formal and informal settings, from performances and exhibitions to pub-

lications, radio and television broadcasts, and new technologies. Creation &Presentation grants sustain the development of artistic creativity and

bring to the American people the rich cultural legacy of theirnation and the world.

These projects represent the core creative activities of most artis-tic disciplines and cover an extraordinary range of aesthetic per-spectives, scale of institution and geographic location. Most ofthese grants were for the public presentation of works, oftenincluding related educational and interpretive activities.

Grants to Organizations

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Creation & Presentation

The National Endowment for the Arts offers assistance toa wide range of nonprofit organizations to support theirarts programming. The Endowment funds exemplaryprojects in all artistic disciplines including dance, design,folk and traditional arts, literature, media arts, music,musical theater, opera, theater and visual arts in additionto supporting arts education, museum, presenting andmultidisciplinary projects. All grants must be matched atleast equally by non-federal sources of funds. A com-plete listing of the year’s grants is posted on theEndowment’s Web site at www.arts.gov.

Fiscal Year 1999 Facts Creation & Presentation

Number of Grant Applications Received: 987

Number of Grants Awarded: 643


Memphis, a signature piece for Ballet Memphis choreographed by Trey McIntyre,celebrates the rich musical heritage of Memphis and its impact around the world.Photo by Barry Thompson


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Many new performing arts works have been created with Arts Endowment funds. In 1999, a grantwas awarded to the Zivili Kolo Ensemble of Granville, Ohio to support the production of a newwork, inspired by the company’s 1997 performance tour of refugee camps in Hungary, Slovenia,Croatia and Bosnia. The work incorporated traditional dance and folk music, as well as photo-graphs, video and narrative voiceovers to tell the stories of the refugee communities. InManchester, New Hampshire, the Alliance for Progress of Hispanic Americans received a grant onbehalf of the Alpha Teen Theatre to commission two playwrights to create new work duringextended residencies with young people.

Visual arts projects funded by the Endowment include a wide variety of activities. For example,Project Row Houses is a public art project that has helped revitalize one of the poorest neigh-borhoods in Houston, Texas. In its first four years, this organization renovated 22 abandoned rowhouses, presented 50 artists’ installations, implemented a series of literary and performance events,and hosted summer and after-school programs for youth. The Endowment’s 1999 grant to ProjectRow Houses supported residencies and installations by eight artists from four countries.

Museums and art centers across the country hosted a diverse range of public exhibitions withEndowment funds. In Newcastle, Maine, the Watershed Center for the Ceramic Arts received agrant to support an international symposium and two-week residency for 10 artists to create newwork. The artists, hailing from across the United States as well as Europe and South America,opened their studios to local residents. Space One Eleven in Birmingham, Alabama curated anexhibition of contemporary Southern artists, hosted in four venues around the city, with its grant.

The world premiere of Concerto for Sabar Drums and Orchestra by American composer James DeMars featured Africandrum and dance ensembles performing with the Phoenix Symphony. Photo by Michael Schwartz for the Phoenix Symphony

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And in New York City, the Museum for African Artreceived a grant for the touring exhibition LiberatedVoices: Contemporary South African Art Since Mandela,which traveled to five other American venues as well asto Johannesburg.

Among the most effective means for disseminating the artsare literary publications and radio and television broadcasts.For example, the Endowment funded the Latin AmericanLiterary Review Press, based in Pittsburgh, to publish fictionby Latino and Latina writers in English translation andpresent public readings by selected authors in four cities.Listeners around the country were able to enjoy the week-ly radio programs Beale Street Caravan, featuring bluesartists, and Marian McPartland’s Piano Jazz, thanks toEndowment grants to the Blues Foundation in Memphis,Tennessee and the ETV Endowment of South Carolinarespectively. National Public Radio distributes both series.

Some 1999 Creation & Presentation grants funded proj-ects celebrating the new millennium, such as a grant tothe Des Moines Symphony in Iowa for activities thatincluded the premiere performance of a work by com-poser David Ott recognizing 20th-century spacetravel. A grant to the Los Angeles Poetry Festivalsupported the Fin de Millennium PoetryFestival, a city-wide celebration. In Seattle, Onthe Boards produced Redefining Performance atthe Turn of the Century — An InterdisciplinaryApproach, a project comprising five intensive cre-ation and performance residencies.

Arts Endowment funds have broad geographic distribution through this category. Creation &Presentation grants were made directly to 48 states, the District of Columbia, and Puerto Rico.In addition, 172 of the 643 grants went toward multi-state projects that toured or were dis-tributed across state lines, broadening the impact of the federal investment. For example, a grantto the Academy of Indian Performing Arts, Inc. in Lincoln, Massachusetts helped make possi-ble a national tour of Kanya, a multimedia work based on Indian classical dance, music andpoetry that traveled to 14 states. Another grant to the Arab Community Center for Economicand Social Services in Dearborn, Michigan supported a five-state tour of three Arabic tradition-al music groups.

The Boston Lyric Opera presented a new production of Philip Glass’ Akhnaten inits Egyptian season as part of its commitment to presenting 20th century operas.Photo by Richard Feldman

Grants to Organizations19 9 9 A N N U A L R E P O R T

he Arts Endowment maintains that all Americansshould have lifelong opportunities to experience the

arts as learners, creators and audience members. Education& Access grants expand opportunities for lifelong arts learn-ing and help make the arts available to all Americans.

Direct grants were awarded to organizations in 49 states, theDistrict of Columbia, Puerto Rico and the Virgin Islands. Ofthe 432 grants, 103 had multi-state impact. For example, agrant was made to the Black Hills Special ServicesCooperative in Sturgis, South Dakota to expand the Prairie Winds Writing Project into neigh-boring Wyoming. The program benefits both students and teachers, and includes one-on-onementorships with professional writers, workshops and publication opportunities.

For students in pre-kindergarten through 12th grade, research has shownthat the development of artistic skills can improve cognition, increase con-fidence and communication, and enhance the overall learning environ-ment. Frequently, units of state and local governments look to theEndowment to assist with their projects. For example, the Arts Alliance ofJackson and Hinds County, in Jackson, Mississippi received an Endowmentgrant to provide funding and technical assistance for arts programming inthe two counties. The Arkansas Department of Education was funded fora consortium project providing professional development for arts teach-ers, arts-in-education roster artists, and museum docents and faculty.

The Endowment’s Education grants in 1999 encompassed a full range oflearning experiences, such as an award to Young Audiences of Indiana sup-porting the Cornerstone Dance Project: Positive Interaction throughDance, born from the Washington Township School District’s desire toexpand the dance curriculum in elementary and middle schools. TheSpringfield Symphony Orchestra in Massachusetts used its Endowmentgrant to collaborate with the Springfield Science Museum on a projectexploring rhythm in both earth science and music that reached more than3,000 elementary school students.

A grant to the Brannigan Cultural Center Foundation in Las Cruces, NewMexico funded Another Planet, a collaborative arts project involving morethan 2,000 middle school students from a low-income community.Developed in the aftermath of a middle school shooting incident, it brought

T Fiscal Year 1999 Facts Education & Access



Dollar Amount of Grants Awarded: $12,309,520

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Florida Stage’s production Yes, I am Talking, YouJust Can’t Hear Me is part of its Young Voicesseries. Performed by middle and high school stu-dents, these plays address issues such as vio-lence, illiteracy and substance abuse. Photo bySusan Green

Education & Access

together artists in a variety of disciplines from allparts of southern New Mexico to conduct classroomresidencies.

Projects emphasizing access to the arts varied wide-ly and included distinct approaches to making thearts available to all Americans. In Idaho, a grant wasawarded to Boise State University on behalf ofPoetry in Public Places to support Idaho Skylights.This project placed illustrated poetry posters onschool bus ceilings and featured poets and artistsriding the rural, morning bus routes to discuss poet-ry with students. The Repertory Dance Theatre ofSalt Lake City, Utah traveled to schools in Californiaand Utah to present a retrospective of 100 years ofmodern dance history. A Traveling Jewish Theatre, based in San Francisco, mounted a 20th anniver-sary, 20-city tour of Diamonds in the Dark, a new work celebrating Yiddish poetry.

The Endowment also helped make possible high-impact projects reaching underserved commu-nities and people with disabilities. A grant to the Grass Roots Art and Community Efforts(GRACE) of Hardwick, Vermont funded community arts workshops for developmentally disabledadults and children in a rural and economically depressed region of Vermont. The project is anexpansion of GRACE’s successful model in nearby Greensboro, which provides participants withincreased opportunities for personal growth and avenues for self-expression. GRACE also pro-vides assistance to groups across the country that wish to start similar programs.

Another example is the grant to the Atlanta Opera that supported the company’s education andoutreach program for students who are mentally and physically challenged. Performed by theAtlanta Opera Studio, which tours one-act operas in English for young audiences, the projectincludes free performances with audio description and sign interpretation as well as workshopsdesigned for students with special needs. Communities of Faith for Housing in Hoboken, NewJersey, received a grant to expand the Creative Writing Workshop at the Hoboken HomelessShelter and increase the circulation of its quarterly anthology, Pieces from Wandering Minds.

Other funded projects exposed participants to various ethnic art forms. These included a multi-disciplinary residency project developed by the Sheboygan Arts Foundation in Wisconsin in whichtraditional artists from the Hmong, Hispanic, and blue-collar German and Dutch communitiescollaborated with local teens to create works in dance, writing, photography and sculpture. TheMontana Indian Art and Culture Association presented a weekend festival, Renaissance of theBozeman Trail, that showcased Native American artists working in both traditional and contem-porary forms, and provided opportunities for people of other cultures to learn about NativeAmericans in their community.

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Kimberly Van Pett, a French horn player with the North Carolina SymphonyOrchestra in Raleigh, at the orchestra’s instrument petting zoo. Photo by Karen Tam


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he diverse artistic heritage of the United States isunique in the world. The Endowment’s purposes

through Heritage & Preservation grants are to honor, assistand make visible those artists and forms of artistic expressionthat reflect this diversity; preserve significant artistic accom-plishments of America’s many cultures; and conserve impor-tant works of art. Heritage & Preservation projects werefunded in 37 states, the District of Columbia, Puerto Ricoand the Virgin Islands. Forty-five of the 169 grants havemulti-state impact.

Heritage projects supported by the Endowment ranged from the creation ofa 45-foot totem pole on the Makah Reservation in Neah Bay, Washington tothe performance of orchestral gospel music by the Evansville PhilharmonicOrchestra in Indiana. Elders of the Apache Tribe of Oklahoma taught work-shops in traditional tribal crafts to younger tribal members. The FloridaDivision of Historical Resources received a grant for the statewide FloridaFolklife Apprenticeship Program. The third annual Festival of KentuckyFolklife was funded by a grant to the Kentucky Historical Society in Frankfort.

In New York, the Jewish Heritage Writing Project received a grant that pairs Holocaust survivorswith young, established writers to produce publishable memoirs. In Philadelphia, the Endowmentsupported the public events associated with Moonstone, Inc.’s 16th Annual Celebration of BlackWriting. And in Washington, D.C., the Endowment sponsored the Seventh Annual IndependenceDay Concert at the Washington Monument and its National Public Radio broadcast, whichreached approximately 350,000 people.

Preservation projects funded in 1999 included a broad spectrum of artistic disciplines. A grantto the Grace Cathedral in San Francisco restored 35 Gothic Revival stained glass windows datingfrom 1930 to 1945. Another grant supported the structural restoration of Fallingwater, a NationalHistoric Landmark in Mill Run, Pennsylvania designed by Frank Lloyd Wright in 1935. SouthernMethodist University in Dallas, Texas received funding for the restoration, documentation andperformance of three musical theater ballets by the legendary choreographer Agnes de Mille.

In the area of film preservation, New York’s Museum of Modern Art, which saves over 100 filmseach year from disintegration, preserved important early films including works by CharlieChaplin, D.W. Griffiths and Tom Mix; the 1917 production of A Tale of Two Cities; and the 1925John Ford picture, Kentucky Pride, among others. In the visual arts, the Endowment supported aconservation survey of five public artworks in the Boston subway system, as part of theMassachusetts Bay Transportation Authority’s Adopt the Arts program.

Fiscal Year 1999 Facts Heritage & Preservation




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Heritage & Preservation

The exhibition Lions &Eagles & Bulls: EarlyAmerican Tavern & InnSigns from TheConnecticut HistoricalSociety displayed thesociety’s collection of18th and 19th centurysign paintings. Photocourtesy of theWilliamstown ArtConservation Center

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The International Center for Photography in New York City and George Eastman House in Rochester, New York joined together for Focus onPhotography, a project that provides broader access to the collections and resources of these two institutions. Featured here is a still from FrankPowell’s 1914 film, The Stain. Photo courtesy of George Eastman House

merica’s nonprofit arts organizations, large and small,constantly seek to improve their financial and adminis-

trative structures so as to effectively carry out their work.Through Planning & Stabilization grants, the Arts Endowmentstrengthens the ability of arts organizations to realize their goals.

Planning grants help an organization assess its strengths andweaknesses. Funded projects may be comprehensive, includ-

ing all areas of operations, ortargeted, focusing on specificactivities. Planning & Stabilization grants included $957,500 award-ed to arts service organizations such as the American SymphonyOrchestra League, Dance/USA, Theatre Communications Groupand Opera America for projects serving their fields.

Some funded projects develop strategies for building partnershipsand resources among a group of organizations linked by geography,programming, artistic field or mission. Such a grant was awarded tothe Nebraska Arts Council on behalf of a consortium of 10 small andmid-size Nebraska arts organizations to obtain financial planningand technical assistance.

Stabilization grants help organizations realize their appropriate insti-tutional size; maximize and diversify their resources; or enhancetheir abilities to serve their constituents. For example, the ArtsCouncil of Oklahoma City provided the Stage Center performingarts facility with computer technology capable of building a collec-tive database to market the Center and at least five participating localtheater companies. A grant to Heart of the Beast Theatre inMinneapolis supported an initiative designed to secure increasedearned and contributed income for the organization.

A number of 1999 grants facilitated long-range planning, marketingassessments and/or feasibility studies. One example is the grantawarded to Young Aspirations/Young Artists (YA/YA) of NewOrleans, Louisiana for a year-long evaluation of its achievementsover the past ten years — a period in which the organization helped


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Planning & Stabilization

Fiscal Year1999 Facts Planning & Stabilization



Dollar Amount of Grants Awarded: $5,866,597

Wolf Trap Institute Artist Keter Betts and a preschooler explore music together at theBarns of Wolf Trap in Vienna, Virginia, where a Planning & Stabilization grant willsupport Wolf Trap’s endowment. Photo by Scott Suchman

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talented, inner-city youth work with professional artists to develop marketable skills. The plan-ning grant allowed YA/YA to assess its training, governance, community involvement andfundraising needs and look to the next decade. The Arizona Opera Company used its grant to hirea consultant who will restructure the organization and develop a five-year plan assessing the orga-nization’s financial health.

Some stabilization grants help arts organizations strengthen their institutional capacity by estab-lishing or augmenting a term endowment or term cash reserve. These grants must be matched atleast three-to-one by non-federal sources. Forty-seven such grants were awarded in 1999 to organ-izations such as Young Audiences of Massachusetts, the New York City Ballet, North Dakota’sBismarck-Mandan Orchestral Association, the American Music Theatre Festival of Philadelphia,Indiana’s South Bend Symphony Orchestra and Washington State’s Tacoma Art Museum.

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An outdoor performance of The Tempest at Shakespeare & Company’s Summer Training Institute. Shakespeare & Companyin Lenox, Massachusetts received a grant to augment its existing cash reserve. Photo by Kevin Sprangue

iterature Fellowships represent one of the Arts Endowment’s most direct investments inAmerican creativity by supporting writers in the development of their work. The program’s

goal is to encourage the production of new work by affording artists the time and means to write.Simultaneously, the fellowships give writers national recognition and invaluable validation of theirtalent to peers, agents, publishers and presenters around the country. Fellowships are awarded inalternate years for poetry and prose.

Creative Writing Fellowships: Poetry

Grants to Individuals

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Literature Fellowships

“How can you say you don’t think you’ve leda very interesting life? Take your nineyears and consider this one thing in them:texture.”

The opening lines of Importance by fellowship recipient Julie Jordan Hanson of Cedar Rapids, Iowa. Photo courtesy of the artist

Craig Anthony Arnold Salt Lake City, UT

Marianne Boruch West Lafayette, IN

Kim Suzanne Bridgford Wallingford, CT

Lucie Brock-Broido Cambridge, MA

Joel R. Brouwer II East Lansing, MI

Derick W. Burleson Houston, TX

Anne Caston Lexington Park, MD

Nancy L. Couto Ithaca, NY

George Economou Norman, OK

Maurya Simon Falk Mt. Baldy, CA

Mary Elizabeth Fisk Nevada City, CA

Sarah Elizabeth Fox Minneapolis, MN

Christine E. Garren Greensboro, NC

Sonia G. Gernes South Bend, IN

Robert Alan Gibb Homestead, PA

Julie Jordan Hanson Cedar Rapids, IA

Dainis Hazners Story, WY

Robert Hicok Ann Arbor, MI

Peter M. Jacobs Madison, WI

Peter M. Johnson Providence, RI

Dana Levin Ukiah, CA

Sarah Messer North Marshfield, MA

Wendy M. Mnookin Chestnut Hill, MA

Jacqueline S. Osherow Salt Lake City, UT

John J. Ronan Gloucester, MA

Jill Allyn Rosser Athens, OH

Vijay R. Seshadri Brooklyn, NY

Lisa Sewell Fort Worth, TX

David James Smith Fresno, CA

Michael Leon Stokesbury Doraville, GA

Russell William Thorburn Marquette, MI

Natasha Trethewey Auburn, AL

The Endowment’s investment in American letters has helped ensure that a diversity of voicesdefines our national literature. It has also fostered talent within a marketplace that often rewardshomogeneity more than innovation, demonstrated by the fact that six individual authors account-ed for 63 of the top 100 best-selling books of the 1990’s. During the past 33 years, the Endowmenthas awarded $36 million through its Literature Fellowships to 2,360 writers, providing support tolesser-known authors who later achieve national stature. These writers include some of the mostacclaimed poets of our time, such as Robert Pinsky, Rita Dove, Philip Levine, Louise Glück andFrances Mayes.

The competition for the $20,000 Fellowships is extremely rig-orous. Of 942 applicants in Fiscal Year 1999, 32 were awardedgrants, a funding rate of three percent. This year’s recipientsinclude Robert Gibb, who is completing the second and thirdvolumes of a trilogy of poetry books exploring the mill townof Homestead, Pennsylvania. Another 1999 recipient, NatashaTrethewey, is completing a manuscript of poems based on thelife of an early 20th-century New Orleans woman portrayed inE.J. Bellocq’s Storyville Portraits. Eight of this year’s grants sup-ported the translation into English of poetry from other lan-guages.

Translation Fellowships

Florence Chana Bloch Berkeley, CAJohn T. DuVal Fayetteville, ARLois Baker Janzer Portland, ORBill Johnston St. Paul, MNPierre Joris Albany, NYNina Kossman Long Island City, NYKhaled Mattawa Chapel Hill, NCLawrence Venuti New York, NY

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“I’m cooking Thai—you bring the beer.The same order, although it’s been a year

—friendships based on food are rarely stable.We should have left ours at the table.”

The opening lines of Hot by fellowship recipient Craig Arnold ofSalt Lake City, Utah. Photo by Sean Graff

he arrival of a new millennium presents all Americans with an opportunity to reflect on ournation’s rich musical history. America brought to the world the gift of jazz — music that

has been an outstanding influence on our cultural heritage throughout the 20th century and calledby Congress a “national treasure.”

Each year, the National Endowment for the Arts recognizes the importance of jazz and honors liv-ing jazz masters for their artistic vision and long-lasting, unique contributions by awarding theAmerican Jazz Masters Fellowships. This year’s distinguished recipients of the $20,000 awards, pre-sented by Chairman Ivey, were: David Baker, dedicated jazz educator and music director of theSmithsonian Jazz Masterworks Orchestra; Donald Byrd, pioneer trumpet virtuoso and leadingeducator; and improvisational pianist Marian McPartland, host of the Peabody Award-winningradio series, Piano Jazz. Their names will be added to the roster of 55 other members who, since1982, have been awarded the American Jazz Masters Fellowships.

“Every day I try to live up to the standards that were taughtto me by my father. He told me that my life should be ‘nothonor, but service.’ He also said ‘If I am not the best, beamong the best.’”

Donald Byrd

“I love being part of the jazz world and music education . . .I want to give back something in return for all the many wonderful opportunities that have been given to me duringmy lifetime.”

Marian McPartland

“This award is especially meaningful to me because it symbol-izes the commitment of the Endowment and of our country torecognize in a formal way the contributions American jazzartists have made to the world of music.”

David Baker

American Jazz Masters Fellowships

Grants to Individuals

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Photo by Bob Day

Photo by John Abbott

Photo by Matt McClain

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A Lakota-Hidatsa storyteller passes on tales of her tribal heritage to Indian youth of theDakotas. A Mexican-American craftsman takes his western horsehair braiding tradition to

a new level of perfection. An Irish immigrant musician sparks a renaissance of Irish music acrossAmerica. These and other recipients of the nation’s highest honor in the folk and traditional arts— the NEA’s National Heritage Fellowship — have devoted their lives as innovators, teachers,organizers, role models and “living libraries” of knowledge to conserve and renew their deeply-rooted, living cultural heritage.

In Fiscal Year 1999, 13 artists from 12 states were awarded National HeritageFellowships of $10,000 each in a ceremony held on Capitol Hill that wasattended by First Lady Hillary Rodham Clinton, members of Congress and thepublic. The awardees later presented their craft, music and dance traditions ina performance that was broadcast widely on public radio stations.

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National Heritage Fellowships

National Heritage Fellows

Frisner Augustin Haitian DrummerBrooklyn, NY

Lila Greengrass BlackdeerHocak Black Ash Basketmaker/NeedleworkerBlack River Falls, WI

Shirley Caesar African-American Gospel SingerDurham, NC

Alfredo CamposHorse-Hair HitcherFederal Way, WA

Mary Louise Defender-Wilson Dakotah-Hidatsa Traditionalist/Storyteller Shields, ND

Jimmy “Slyde” GodboltTap DancerHanson, MA

Ulysses “Uly” GoodeWestern Mono BasketmakerNorth Fork, CA

Bob HoltOzark FiddlerAva, MO

Zakir HussainNorth Indian Master Tabla Drummer San Anselmo, CA

Elliott “Ellie” Mannette Steel Pan Builder/Tuner/Player Morgantown, WV

Mick MoloneyIrish MusicianPhiladelphia, PA

Eudokia Sorochaniuk Ukrainian Weaver/Textile Artist Pennsauken, NJ

Ralph W. StanleyMaster BoatbuilderSouthwest Harbor, ME

Zakir Hussain is hailed as one of theworld’s great percussionists for hisstellar technique, musicality, rhythmiccomplexity and melodic versatility.Photo by John Werner

Ralph Stanley has built and/or restored countless wooden boats,ranging from lobster vessels to racingsloops and pleasure yachts with hismeticulous attention to fine workman-ship, traditional process and design.Photo by Craig Milner

tate arts agencies used their federal and stateappropriated funds in 1999 to support more than

27,000 projects in over 5,600 communities. Twenty-eightpercent of these grants went directly to smaller commu-nities outside major metropolitan areas. Endowmentfunds for preservation of cultural heritage, developingarts groups, cultural tourism initiatives, artist residen-cies, after school and summer youth arts programs andother projects helped promote community developmentthrough the arts.

For example, citizens of tiny Lake City, Colorado pre-pared to document the turn of the millennium through the arts. Script-writing sessions involv-ing a playwright and community members will lead to production of a musical and a play basedon real characters of Lake City’s past. Two ceramic artists worked with 20 people to construct apaper kiln and taught them the basics of tile design and production. They will use their new skillsto create a collective tile mural reflecting the area’s history.

The Endowment’s arts education partnership withstate arts agencies helped bring the benefits of com-prehensive arts education to grade K-12 students inover 2,600 communities. Federal and state funds pro-vided for arts curriculum development, collabora-tions between schools and local arts groups, artistresidencies in schools, professional development forartists and teachers, and partnerships with state edu-cation departments.

The Connecticut Commission on the Arts’ HOT(Higher Order Thinking) Schools© Program, sup-ported by the NEA, uses the arts as a key pathway to

State and Regional Partnerships

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The Arts Endowment greatly extends its impact through its partnerships with the 56 state andjurisdictional arts agencies and their seven multi-state regional organizations. In Fiscal Year1999, Partnership Agreements helped support local, state and regional arts activities for childrenand adults across the nation. A complete listing of Partnership Agreements is available onlineat www.arts.gov.

Fiscal Year 1999 Facts State and Regional Partnerships

Dollar Amount of Partnership Agreements: $33,827,175

Forty percent of Endowmentgrant funds are awarded to stateand regional arts agenciesthrough these agreements.

Ida Pearl Davis works on traditional split oak baskets at the 1999Governor’s Regional Conference on the Arts sponsored by theTennessee Arts Commission. Photo by Timothy Weber, TennesseeArts Commission

developing higher order thinking skills. TheCommission works with 24 schools across the state toinvolve over 5,000 students and 500 educators fromdiverse communities. Educators welcome parentsinto the school and teachers adapt the curriculum tolearners’ needs. Child-centered education is achievedthrough strategies such as The Magical Mailbox©,which serves as a repository and distribution pointfor student writing and artwork. HOT Schools© cel-ebrate student writing at every opportunity.

The Endowment’s partnership with state arts agen-cies is an important source of assistance to other artsorganizations in each of the states. The state artsagencies use approximately 46 percent of their com-bined state and federal grant dollars to fund opera-tions and professional support of their constituentarts organizations. Funds assist performing groups,museums and galleries, small presses and literaryorganizations, local arts agencies, arts festivals andarts centers and facilities. The Endowment’s statepartnerships also assist individual artists. State artsagencies awarded grants for artist residencies, per-formances, fellowships, artwork creation andapprenticeships.

The Endowment also awarded PartnershipAgreements to seven regional arts organizations, cre-ated to transcend state boundaries and provideaccess to a greater variety of arts experiences, espe-cially in underserved areas. In 1999 these organiza-tions used NEA funds to support 1,368 touringperformances and 2,523 related school or commu-nity activities. As an example, the Southern ArtsFederation used its Partnership Agreement funds toaward $225,203 to community arts presenters in itsnine member states. The Federation’s grant-sup-ported programs brought touring performinggroups to over 300,000 people.

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Through the State Foundation on Culture and the Arts in Hawaiithe NEA helped support the Honolulu Theatre for Youth in its production of The Short Tree & the Bird That Couldn’t Sing byDennis Foon. Photo by Karl S. Hedberg

The Montana Arts Council’s Artists in Schools andCommunities program supported a media arts resi-dency in the Hinsdale public schools. Photo courtesyof the Montana Arts Council

he National Endowment for the Arts has joined withthe White House and other organizations nationwide

to honor the past and imagine the future at the turn of themillennium by supporting projects of national scope andimpact. Designated by the White House Millennium Councilas Official Millennium Projects, they showcase the best of thearts in every state and invite community residents to become part of the creative process. Joiningfive National Millennium Projects announced in 1998 are the following:

Arts on Millennium Trails supports the creation of high quality, community-centered,public art projects along the 50 Millennium Legacy Trails that the U.S. Department ofTransportation has designated in 47 states, the Virgin Islands, Puerto Rico and theDistrict of Columbia. It is administered by the National Assembly of State Arts Agencies.LIVE! at the Library 2000, coordinated by the American Library Association, linkslibraries, artists and audiences through special appearances by artists and writers atlibraries nationwide. The project uses the arts to interpret contemporary topics such as

the geographic movement of people and the relationship between health and creativity.

The Mars Millennium Project is an interdisciplinary learning project sponsored in partnershipwith the U.S. Department of Education, the National Aeronautics and Space Administration(NASA) and its Jet Propulsion Laboratory, and the J. Paul Getty Trust. Thousands of studentsnationwide in grades K-12 are working with educators, artists, scientists and community lead-ers, weaving the arts, sciences and humanities together to design model communities for life onMars in the year 2030. Treasures of American Film Archives, a collaboration of the National FilmPreservation Foundation and 18 major film archives from Alaska to West Virginia, preserves andscreens “orphan,” or noncommercial, films from the past century. The project also features theproduction of a 11-hour DVD anthology distributed free to state libraries across the country.

Through its Leadership Initiatives, the Arts Endowmentdevelops and implements groundbreaking projects withimpact for significant numbers of Americans and the artsfield. These initiatives are frequently undertaken in collab-oration with nonprofit organizations or other federal agen-cies. Projects may assist touring programs that reach areas of the country with limited artsresources; develop design models and practices that make communities more livable; or devel-op quality programs for in-school instruction as well as lifelong learning in the arts.

As a complement to the Endowment’s principal grantmaking activity, Leadership Initiativesallow the agency to address special needs or realize unique opportunities, ensuring that thearts are accessible to all Americans and encouraging arts organizations and artists to reachnew levels of creative achievement. A complete listing of Leadership Initiatives is availableonline at www.arts.gov.

Leadership Initiatives

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National Millennium Projects

In Fiscal Year 1999, fundingfor Leadership Initiativestotaled $8,406,421.

Funding for NationalMillennium Projects totaled$2,116,886 and supportedarts activities in all 50states.

Marian Anderson’sConcert at the LincolnMemorial (1939)Newsreel outtakes ofthis historic concertwere preserved by theUCLA Film andTelevision Archive aspart of Treasures ofAmerican FilmArchives. Photo courtesyof the National FilmPreservation Foundation

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he Endowment’s primary investment in internationalexchanges is through its support of partnerships

between the private sector and other government agencies. Inaddition to demonstrating the excellence, diversity and vital-ity of American arts to audiences around the world, theseprograms help build a foundation of trust and understand-ing between the U.S. and other countries and provide uniqueexperiences for American artists.

The ArtsLink partnership focuses on arts exchanges with Eastern and CentralEurope and the Newly Independent States. It supports U.S. artists’ work with col-leagues in that part of the world and assists organizations in the U.S. hosting five-week residencies for artists or arts administrators. This year, 18 projects were fundedinvolving countries ranging from Russia and Poland to Armenia, Estonia, Croatiaand Romania. In the U.S., organizations such as the Cincinnati Ballet, the Schoolof the Art Institute of Chicago, Illusion Theater in Minneapolis, and Hand PrintWorkshop International in Alexandria, Virginia were among those that hosted 42artists and arts administrators from the region. The NEA’s partners in ArtsLink werethe Open Society Institute/Soros Foundation, the Trust for Mutual Understanding,CEC International Partners, the Kettering Fund and the Ohio Arts Council.

The Fund for U.S. Artists at International Festivals and Exhibitions, administeredby Arts International, continued to support approximately 100 U.S. artists at per-forming arts festivals around the world in a wide range of events. For example, Sweet Honey inthe Rock of Takoma Park, Maryland participated in the La Villette Jazz Festival in Paris with a pro-gram of songs from the African-American a capella tradition. The Bill T. Jones/Arnie Zane DanceCompany of New York City performed in Africa for the first time at the Standard National BankArts Festival in Johannesburg. In the visual arts, the Fund supported a site-specific installation byacclaimed artist Ann Hamilton of Columbus, Ohio at the 1999 Venice Biennale. The NEA’s part-ners in the Fund are the U.S. Department of State, the Rockefeller Foundation and the PewCharitable Trusts.

The U.S.-Japan Creative Artists’ Program, the Endowment’s long-standing partnership with theJapan-U.S. Friendship Commission, again supported five artists for six-month residencies in Japanto help them advance their creative work. This program is one of the NEA’s oldest interagencyactivities and stands as an important symbol of good will between the two countries. Among theartists participating this year were New York graphic artist John Mazzucchelli, who investigatedJapanese visual storytelling in both traditional and modern methods, and composer Gene AllanColeman from Chicago, who collaborated with Japanese composers and performers in traditionaland western forms of music.

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International Exchanges

The $375,000 provided in Fiscal Year 1999 for international exchanges leveraged approximately$1.7 million from other partners.

The New York City-based modern danceensemble, SusanMarshall & Company,performed The MostDangerous Room in theHouse at the EdinburghInternational Festivalwith support from theNEA’s Fund for U.S.Artists at InternationalFestivals andExhibitions. Photo byGeoffrey M. Hansen

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he AccessAbility Office is the Endowment’s advocacy and technical assistance arm for olderadults, individuals with disabilities and people living in institutions, including long-term

care settings. The Office works with grantees, applicants, organizations representing these citizensand other federal agencies to help make the arts more readily available to the targeted populations.

The Arts Endowment continued its leadership in universal design, the design of products andspaces usable by all people from children to older adults, by convening a meeting in June 1999 of18 universal design experts. Design professionals, academics, consumer groups and governmentofficials assessed the current state of universal design and identified future opportunities forencouraging and assisting its practice.

The Endowment also began implementing recommendationsfrom its 1998 National Forum on Careers in the Arts, whosepurpose is to advance careers in the arts for individuals withdisabilities. The NEA renewed its partnership with the otherfederal agencies involved in this effort: the U.S. Department ofEducation, Department of Health and Human Services, theSocial Security Administration and the John F. KennedyCenter for the Performing Arts, and convened three summitsin November and December 1999 to develop specific imple-mentation plans.

A policy education meeting in December 1999, co-organizedwith the Social Security Administration, focused on issuesfaced by many disabled artists who receive sporadic, arts-gen-erated income in addition to government benefits. These dis-

cussions led to the creation of the Governor’s Committee on Careers in the Arts for People withDisabilities for the State of Maryland.

A new project, Access to Design Professionals, produced the first major research on people withdisabilities in design professions. This NEA-supported research, conducted by AdaptiveEnvironments in Boston, led 40 educators, vocational rehabilitation professionals, designers anddisability experts to gather in Washington, D.C. to create strategies encouraging more disabledyouth to pursue design careers.

The Office also worked with the New England Foundation for the Arts and the Western States ArtsFederation to develop regional access symposia for Fiscal Year 2000 on making the arts fully acces-sible to older adults and people with disabilities. The Artist-in-Residence project with the U.S.Department of Justice’s Federal Bureau of Prisons established visual arts programs in FederalCorrectional Institutions in Beaumont, Texas; Greenville, Illinois and Yazoo City, Mississippi.

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AccessAbility

The National Theater for the Deaf performed at the New EnglandFoundation for the Arts’ conference Clearing the Path: Art andAccessibility in New England. Photo by Marilyn Humphries


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iscal Year 1999 marked the second year of theEndowment’s pilot ArtsREACH grants. These

grants provide agency support to organizations instates previously underrepresented in the agency’s pro-file of direct grant recipients. They continue the NEA’stradition of fostering the application of cultural solu-tions to local community needs. Following a year ofincreased NEA staff contact with all the participatingstates, there was a marked increase in grants to organ-izations in those states through both ArtsREACH andthe four major Grants to Organizations categories.The participating states were:

ArtsREACH grant funds are designated specifically for communi-ty cultural planning, assessment and implementation activities.Cultural planning brings together local leaders in business, gov-ernment, education, the arts and other fields to create partnershipsthat address community goals. ArtsREACH encourages a widerange of community partnerships to include the arts as a funda-mental component of community development.

Examples of projects supported with Fiscal Year 1999 funds are:

• The Montana Association of Symphony Orchestras in Bozemanis undertaking a community cultural assessment, addressingresources, challenges and opportunities for Montana orchestras.

• The University of Arkansas at Little Rock is developing a plandesignating future sites for public art spaces.

• The Upper Cumberland Regional Arts Council in Cookeville, Tennessee is conducting a com-munity cultural assessment and creating a community cultural plan. Information gathered atpublic forums by community partners will be used to inventory cultural assets and resourcesin 14 counties and develop an automobile tour of the area.

• South Dakotans for the Arts is surveying 200 school districts to help improve arts educationand to integrate this subject into core curricula.

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ArtsREACH

Fiscal Year1999 FactsArtsREACH


Number of Grants Awarded: 84Dollar Amount of Grants

Awarded: $749,280

Almost 500 collaborating partnersare involved in the projects supported with these grants.

An ArtsREACH grant to the Clay Center for the Arts andSciences in Charleston, West Virginia supported a residencyby the Aman Folk Ensemble. Pictured here is the ensemble inthe world premiere of The Immigrants. Photo by Michael Keller

Alabama Arkansas Delaware Idaho

Indiana Iowa Kansas Mississippi

Montana Nebraska Nevada North Dakota

Oklahoma Rhode Island South Carolina South Dakota

Tennessee Utah West Virginia Wyoming


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iscal Year 1999 also was the second year of the Folk& Traditional Arts Infrastructure Initiative, a pro-

gram that addresses the ongoing need for strengtheningthe state and regional infrastructure of support for thefolk and traditional arts. The initiative enhances highlyproductive partnerships between state arts agencies andlocal organizations to increase programming (includingexhibitions, research and education activities), technicalassistance, and financial and material resources for thenonprofit folk and traditional arts.

Funded projects generally serve three purposes: 1) creating and stabilizing professional folk artspositions within public institutions; 2) forging and expanding institutional and community part-nerships that support the folk and traditional arts; and 3) carrying out research to identifyunknown folk and traditional artists and art forms, connect them with sources of financial andtechnical support, and make them publicly visible.

Examples of this year’s funded projects are:

• The Alaska State Council on the Arts is forming a Cultural Center Consortium designed toassist communication and cooperation among Alaska’s Native culture centers.

• The Indiana Arts Commission isestablishing a system to identify,document, preserve and promote thefolk arts and artists of Indiana.

• The North Dakota Council on theArts is continuing its Traditional ArtsApprenticeship Program.

• The Southern Arts Federation isorganizing Living Traditions: FolkArtists of the American South, a trav-eling exhibition of master folk artists.

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Folk & Traditional Arts Infrastructure Initiative

Fiscal Year 1999 Facts Folk & Traditional ArtsInfrastructure Initiative


Number of Grants Awarded: 32Dollar Amount of Grants

Awarded: $810,000

Rod Seitz’s scroll saw clocks, created from Norwegian and Czech tradi-tions, were featured at the Festival of Iowa Folklife. The Iowa Arts Councilreceived a Folk & Traditional Arts Infrastructure Initiative grant to supportthe festival. Photo by Rachelle Saltzman

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hrough interagency partnerships, the Endowment leverages its budget to better serve theAmerican public and reach new constituents. During Fiscal Year 1999, the Endowment

announced two joint initiatives through its ongoing partnership with the U.S. JusticeDepartment’s Office of Juvenile Justice and Delinquency Prevention (OJJDP). The Arts forJuvenile Offenders in Detention and Corrections program reintegrates juvenile offenders intotheir communities by combining the services of arts professionals with those of juvenile deten-tion or corrections staff. In addition to facilitating the youths’ transition back to the community,the program helps young people continue their learning through the arts. Representatives fromthe six program sites in Florida, Washington State, California, New York and Texas came toWashington, D.C. in October 1998 to kick off this two-year project.

The second initiative, Arts for At-Risk Youth,involves three sites, one each in Oklahoma,Pennsylvania and Illinois, that conduct after-school and summer mentoring, conflict resolutionand training in communications skills. Many par-ticipating young people also obtain hands-onexperience in arts professions through internships.

Other technical assistance workshops were con-ducted through the NEA’s ongoing ConflictResolution Education in the Arts partnershipwith OJJDP and the National Center for ConflictResolution Education. Under this program, work-shop participants including artists and artsadministrators are instructed in integrating con-flict resolution principles and processes into theiryouth programs.

The Arts and Rural Community Assistance Initiative, the Endowment’s partnership project withthe U.S. Forest Service, marked its third year of activity in 1999. This year the initiative focusedon 10 Mountain and Great Plains states in three Forest Service regions. Nineteen grants supporteda wide range of arts-based, rural community development projects. Examples are the first annu-al International Traditional Games Gathering on the Blackfeet Reservation in Montana; the jointNevada Arts Council-Bureau of Land Management traveling photographic exhibition on the wildhorses of the Great Basin; and the (Wyoming) Wind River Heritage Center’s Powwow Primer, ademonstration that educates visitors to the Wind River Reservation about Arapahoe andShoshone dances.

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Interagency Partnerships

Gallery 37, Chicago’s youth job training program in the arts, received a ComingUp Taller Award. Sponsored by the President’s Committee on the Arts and theHumanities in partnership with the NEA, these awards honor outstanding arts andhumanities programs for children that provide them with safe and educationalenvironments during after-school hours. Photo by Joe Pickett

ther Leadership Initiatives supported by the Endowment during Fiscal Year 1999 include:

ARTS EDUCATION

The U.S. Department of Education’s National Center for Education Statistics released The NationalAssessment of Educational Progress (NAEP) 1997 Arts Report Card that measured students’ literacyin the arts. This study, involving approximately 6,660 eighth-grade students in 268 schools nation-wide, marked the first time in 20 years that the arts have been part of the development and imple-mentation of the NAEP. The report resulted from critical funding provided in earlier years by theArts Endowment to return the arts to the NAEP schedule of subject testing.

An NEA agreement with the Council of Chief State School Officers continued to sponsor the workof the Arts Education Partnership, a group of more than 140 national organizations representingthe arts education, education and arts communities, as well as government agencies and privatesector interests. Among the Partnership’s successes are the development of a highly acclaimed artseducation advocacy video, The Arts and Children: A Success Story, featuring acclaimed actressMeryl Streep. The Partnership also distributed critical research reports including Gaining the ArtsAdvantage, a first-of-its-kind study on school districts committed to arts education. The reportwas issued jointly with the President’s Committee on the Arts and the Humanities.

DANCE

Since 1996, the Endowment has provided funding for the New England Foundation for the Arts’National Dance Project (NDP), which supports the creation and touring of dance across the coun-try. Touring is uniquely important to the dance field because virtually all dance companies mustfind additional performance opportunities beyond their home towns in order to develop theirdancers, repertory and audiences. The NDP involves a group of presenters (those who manageperforming arts series and/or facilities) who are committed to the presentation of contemporarydance. The group rotates every two to three years. Through Fiscal Year 1999, the NDP fostered thecreation of 76 new dance works and the presentation of those works at 271 different locations inmore than 40 states.

DESIGN

In Fiscal Year 1999, the Design Office undertook two new initiatives and expanded two other pro-grams to nurture design talent and improve the overall quality of design across the country. Theseprojects are part of an effort to enhance public awareness of design, serve the different design dis-ciplines, and act as a conduit for design expertise for other federal agencies.


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Other Initiatives

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New Public Works is a multi-year initiative that features a series of national design competitionsfor projects ranging from architecture to graphic, landscape and industrial design. In its first year,the initiative is funding up to ten projects at $50,000 each to spur good design in often under-served geographic areas and to target emerging design talent. Redressing the Mall, a two-day sym-posium sponsored by the NEA, examined the redesign of failed malls and their potential impacton the physical and social fabric of American communities.

The ongoing Mayors’ Institute on City Design, which brings together mayors and design profes-sionals to address community planning issues, featured an extra session in 1999 that identified waysin which schools can operate as catalysts for community redevel-opment. The Institute is conducted in partnership with theAmerican Architectural Foundation and the U.S. Conference ofMayors. Your Town, which originally grew out of a joint NEA-National Trust for Historic Preservation project for rural commu-nities and offers design workshops on the quality of life in smalltowns, added two sessions, one with a focus on Native-Americanand the other on African-American communities. These will takeplace in the fall of 2000 and address specific developmental con-cerns faced by those communities.

CHAMBER MUSIC RESIDENCY PROGRAM

Developed by Chamber Music America, this program places emergingchamber music groups in rural communities for a nine-month residency(September to May) that may be renewed for up to five years. The residencynot only enhances the musical life of the host community but also providesthe musicians with the opportunity to expand their repertoire and enhancetheir performance, teaching and management skills.

TECHNOLOGY

In Fiscal Year 1999, the Arts Endowment announced the addition of a newresource, Lessons Learned: A Planning Toolsite, to its Web site. Designedto provide planning assistance to nonprofit arts organizations, this com-pendium features essays and case studies covering topics such as minorityaudience development, capital campaigns and social entrepreneurship. TheEndowment commissioned the case studies from arts administrators andconsultants in order to expand the planning resources available and tohighlight examples of successful programs. Placing these studies on theNEA Web site gives organizations immediate access to effective strategiesfor meeting the challenges of long term planning.

Participants in the 1999 Mayors’ Institute on City Design includ-ed mayors from eight U.S. cities and researchers from theMassachusetts Institute of Technology. Photo by T. Luke Young

The front page from the Web site Lessons Learned:A Planning Toolsite, on the NEA Web site.

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The Endowment also added Cultural Funding: Federal Opportunities to its Web site. Thisresource, developed with the Tuscon Arts Council, assists nonprofit arts organizations in locat-ing potential federal support for cultural programs in addition to NEA grants. Listings of relevantfederal agencies, project descriptions, links, reference tools and tips are included. Over 100 fed-eral programs and 170 project examples are cited.

Through its Office of Policy Research & Analysis, the Endowment continued to manage OpenStudio: The Arts Online. This collaborative project with the Benton Foundation is the onlynational initiative that trains the nonprofit arts community to effectively use the Web for onlinecommunication, publication and creative expression. In 1999, 10 new regional training sites wereadded to the original eight sites that, through their work, have dramatically increased the amountof cultural information available on the Internet.

THEATER

For a second year, through a grant to the Actors’ Fund of America, the Arts Endowment supportedthe Artists’ Health Insurance Resource Center (AHIRC), an Internet resource that supplies the-ater and other artists and arts organizations with comprehensive, state-specific information abouthealth insurance options. AHIRC provides guidance on selecting a plan; unions, guild and serv-ice organizations that offer group coverage; and resource listings regarding specific health con-ditions.

Two leadership grants to the Theatre Communications Group continued the Endowment’s sup-port for two programs important to the theater field. The NEA/TCG Theatre Residency Programfor Playwrights allows 12 playwrights to create new work while in residence at a host theater,becoming an integral part of its artistic life. The NEA/TCG Career Development Programs forDirectors and Designers provides emerging directors and designers with support services, resi-dencies at professional theaters, and mentorships with master directors and designers.

Leadership Initiatives19 9 9 A N N U A L R E P O R T

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The Office of Policy Research & Analysis (OPRA) supports the Chairman and NEA staff withstatistical and other information about the agency’s applications and awards, includinggrantee and applicant profiles, the distribution of awards by state and artistic discipline, andanalyses of overall trends in NEA funding. The Office’s Research Division issues periodicreports on larger issues affecting artists and arts organizations that are distributed toCongress, the arts community and the public. These reports help shape changes in theEndowment’s grantmaking policies.

n Fiscal Year 1999, one of OPRA’s major projectswas the development of a geographic database that

provides a comprehensive picture of the broad reach ofNEA-supported activities. The database demonstrated thatover 4,000 cities and towns throughout the country ben-efited from NEA grants through dance company tours,symphony and opera presentations in schools, poetryreadings in libraries, national distribution of works by small literary presses, traveling exhibitionsof works by major visual artists, and radio and television broadcasts.

As part of its activities, OPRA oversees the agency’s Civil Rights Office, which reflects the Chairman’scommitment to equity within the Endowment and with its grantees, applicants and the culturalcommunity. Working with OPRA, the Civil Rights Office monitors and influences agency-wide pol-icy and practices.

In 1999, OPRA’s Research Division published the following studies:

• Note #72, an updated analysis of public arts participation across states, regions and metro-politan areas based on the Division’s 1997 National Survey of Public Participation in the Arts;

• Note #73, an analysis of artist employment based on statistics collected through the U.S.Bureau of Labor Statistics’ Current Population Survey; and

• Note #74, a summary of the latest research comparing government arts expenditures in theU. S. with spending levels in nine other countries.

OPRA also convened a symposium with researchers and representatives of arts service organiza-tions and foundations that assessed the development of a national unified database of arts organ-izations.

The NEA’s library, part of the Research Division, continued to collect and make available to thearts field and the public specialized information about topics in the arts.

Policy Research&Analysis

I


The NEA’s new geographicdatabase demonstrated thatin Fiscal Year 1999, 4,000American communities benefited from NEA grants.

Created by Congress in 1984, the National Medal of Arts is conferred annually by the WhiteHouse to honor persons and organizations who have made extraordinary contributions to theexcellence, support, growth and availability of the arts in the United States.

he National Endowment for the Arts solicits nominations for the award that are vetted bythe National Council on the Arts and then forwarded to the President for final selection. The

awards, which are non-monetary, are presented each year at a special White House ceremony. Thisyear’s award recipients are:

National Medal of Arts

32

T


Irene DiamondNew York, NYPhilanthropist

Aretha FranklinBirmingham, MISinger

Michael GravesPrinceton, NJArchitect, Designer

OdettaNew York, NYSinger, Music Historian

The Juilliard SchoolNew York, NYPerforming Arts School

Norman LearLos Angeles, CAProducer, Writer, Director,Advocate

Rosetta LeNoireBronx, NYActress, Producer

Harvey LichtensteinNew York, NYArts Administrator

Lydia MendozaSan Antonio, TXSinger

George SegalNorth Brunswick, NJSculptor

Maria TallchiefHighland Park, ILBallerina

President and Mrs. Clinton present the National Medal of Arts to Harvey Lichtenstein.Photo by Neshan Naltchayan

The National Medal of Arts,designed by internationallyrenowed scuptor Robert Graham.NEA file photo

33

The Heart of the Beast Puppet Theatre in Minneapolis received a Planning & Stabilization grant for an initiative to increase their earned andcontributed income. Pictured here is the theatre’s retrospective exhibition at the Weisman Art Center. Photo by Warwick Green

34

ore than 400 private citizens reviewed grant proposals and recommended projects forfunding from the thousands of applications received in Fiscal Year 1999. NEA staff select

artists, arts administrators, arts patrons and at least one layperson not employed in the arts toserve on each panel, ensuring diverse aesthetic, cultural, ethnic and geographic perspectives.

Panels convene at the Endowment offices throughout the year, in meetings lasting several days.To avoid conflicts of interest, panelists do not consider applications from organizations with whichthey are affiliated. Split panels (panel A and panel B) are sometimes convened so that such con-flicts do not occur.

Panel recommendations for funding are forwarded to the National Council on the Arts for fur-ther review. Applications approved by the Council are then forwarded to the Chairman, who hasfinal authority on all funding decisions.

In the following list, panelist titles, organizations and places of residence are current as of the con-vening of each panel.

Panelists

M


The Panel Process

Arts Education

Education & AccessPlanning & Stabilization

Joan Powers AsseyDirector, Development and

TechnologyRichland School District TwoColumbia, SC

Jane BonbrightExecutive DirectorNational Dance Education

AssociationKensington, MD

Sherilyn BrownDirector, Arts in Education ProgramRhode Island Council on the ArtsCranston, RI

Kassie DavisExecutive DirectorIllinois Arts CouncilChicago, IL

Debra Eileen EvansEducation DirectorThe Washington OperaWashington, DC

Kimberley S. KanataniEducation DirectorMuseum of Contemporary ArtLos Angeles, CA

Janice L. LeonettiEnglish InstructorWilsonville High SchoolOregon City, OR

Myran Parker-BrassDirector of Education and

Community ProgramsBoston Symphony OrchestraAshland, MA

Bruce E. RodgersAssociate Artistic DirectorAsolo Regional TheaterSarasota, FL

C. Lawler Rogers (Layperson)Fine Arts Supervisor (retired)Brandywine School DistrictNewark, DE

Beth RudolphExecutive DirectorVery Special Arts New MexicoAlbuquerque, NM

Tim WrightFounder and Director, Jamaica Plain

NewsreelArtist-in-Residence, Essex Middle

SchoolBoston, MA

Dance


Celesta BilleciProgramming Coordinator and

Marketing DirectorUCLA Center for the Performing ArtsLos Angeles, CA

35

Hernando CortezArtistic DirectorCortez & Co. Contemporary BalletNew York, NY

Della DavidsonArtistic DirectorDella Davidson Dance CompanySan Francisco, CA

Riley GrannanManaging DirectorEugene Ballet CompanyEugene, OR

Joan GrayPresidentMuntu Dance TheatreChicago, IL

Robert GreskovicWriter, Dance CriticNew York, NY

Germaine Ingram (Layperson)Chief of StaffSchool District of PhiladelphiaPhiladelphia, PA

Marda KirnFounderColorado Dance FestivalLafayette, CO

Marsha KnightProfessor of DanceUniversity of WyomingLaramie, WY

Bryan PittsArtistic DirectorBallet OklahomaOklahoma City, OK

Bennett Tarleton Executive DirectorTennessee Arts CommissionNashville, TN

Ann WilliamsArtistic Director and FounderDallas Black Dance TheatreDallas, TX

Education & AccessHeritage & Preservation

Elizabeth AldrichChoreographer, Writer, HistorianWashington, DC

Norman Brown (Layperson)TeacherMcCullough Elementary SchoolNewark, DE

Bonnie Oda HomseyCo-Director, AdministratorAmerican Repertory Dance

CompanyLos Angeles, CA

Johann JacobsExecutive DirectorBallet WestSalt Lake City, UT

Roy KaiserArtistic DirectorPennsylvania BalletPhiladelphia, PA

Karen K. MasakiProgram Officer for Culture and ArtsHawai’i Community FoundationHonolulu, HI

Hema RajagopalanArtistic DirectorNatyakalalayam Dance CompanyOakbrook, IL

Abdel SalaamArtistic DirectorForces of NatureNew York, NY


Michael Bjerknes (Layperson)Senior Business AnalystGeneral Electric Information

ServicesRockville, MD

C.C. ConnerExecutive Director Houston BalletHouston, TX

Gail Kalver General ManagerHubbard Street Dance ChicagoChicago, IL

Gray MontagueExecutive DirectorBallet ArizonaPhoenix, AZ

Lolita San MiguelArtistic DirectorBallet ConciertoSan Juan, PR

Gene C. SulzbergerDirector of Development and

CommunicationsDade Community FoundationMiami, FL

June WilsonExecutive DirectorMinnesota Dance AllianceMinneapolis, MN

Design/Museums


Fernando Alvarez-Perez, M.D.(Layperson)Obstetrician-GynecologistMiami, FL

Charles Thomas ButlerDirectorColumbus MuseumColumbus, GA

Tina DunkleyDirector, University Art CollectionsClark Atlanta UniversityAtlanta, GA

Robert JohnsonCurator-in-Charge, Achenbach

Foundation for Graphic ArtsFine Arts Museum of San FranciscoSan Francisco, CA

Panelists

36


Kathryn KanjoCurator of Contemporary ArtPortland Art Museum Portland, OR

María McCabe (Layperson)PresidentMedia Access ConsultingWilmington, DE

Mark RobbinsCurator of ArchitectureWexner Center for the ArtsColumbus, OH

Linda Shearer Director, Museum of ArtWilliams College Williamstown, MA

Anne Wilkes TuckerGus & Lyndall Wortham Curator of

Photography Museum of Fine ArtsHouston, TX

Olga VisoCurator of Contemporary ArtHirshhorn Museum and Sculpture

GardenSmithsonian InstitutionWashington, DC

Susan VogelIndependent CuratorNew York, NY

Ian WardropperEloise W. Martin Curator of

European Decorative Arts andSculpture

Art Institute of ChicagoChicago, IL

Heritage & Preservation

Bill Babcock Executive DirectorTown Hall Arts CenterLittleton, CO

Sandra BarghiniChief CuratorFlagler MuseumPalm Beach, FL

Bruce ChristmanChief ConservatorCleveland Museum of ArtCleveland, OH

Steve DietzDirector of New Media InitiativesWalker Art CenterMinneapolis, MN

Graham GundPresidentGraham Gund ArchitectsCambridge, MA

Peter MorrinDirectorJ.B. Speed Art MuseumLouisville, KY

Wynne H. PhelanDirector, Conservation DepartmentMuseum of Fine ArtsHouston, TX

Pamela Shields (Layperson)Project CoordinatorThe San Francisco FoundationSan Francisco, CA

Mina TakahashiExecutive DirectorDieu Donné PapermillNew York, NY

Design/Museums/Visual Arts

Education & Access

Richard AndrewsDirector, Henry Art GalleryUniversity of WashingtonSeattle, WA

Umberto CrencaDirectorAS220Providence, RI

Blane de St. CroixArtist, Area Head, Sculpture

DepartmentSchmidt College of Art and

HumanitiesFlorida Atlantic UniversityBoca Raton, FL

Rebecca Des MaraisDirector, Youth Art ConnectionBoys & Girls Club of Metro AtlantaAtlanta, GA

Jhon Goes in Center (Layperson)President and FounderInnovative GIS Solutions, Inc.Fort Collins, CO

Sonnet Takahisa Co-DirectorNew York City Museum SchoolNew York, NY

Irene Dumas TysonDesign ConsultantColumbia, SC

Marshall WongProject Director, Arts Education

InitiativeLos Angeles County Museum of ArtLos Angeles, CA


Candra Day Planning and Management

ConsultantJackson Hole, WY

William DrenttelDesign ConsultantJessica Helfand l William Drenttel,

Inc.Falls Village, CT

Anne FarrellDevelopment DirectorMuseum of Contemporary Art,

San DiegoLa Jolla, CA

Thomas HickokManagement ConsultantBooz • Allen & Hamilton, Inc.Alexandria, VA

37

Nancy LutzAssistant Director, Center for

Creative PhotographyUniversity of ArizonaTucson, AZ

R. Andrew MaassDirectorMississippi Museum of ArtJackson, MS

Carlos TortoleroFounder and DirectorMexican Fine Arts Center MuseumChicago, IL

Will K. WilkinsExecutive DirectorReal Art WaysHartford, CT

Brigette Williams (Layperson)Publisher, Special Publications

DivisionArkansas Business Publishing GroupLittle Rock, AR

Folk & Traditional Arts


Andrea GrahamFolk Arts Program DirectorNevada Arts CouncilCarson City, NV

Geraldine Johnson (Layperson)PresidentAmerican Traditional FoodsWashington, DC

Phong NguyenVisiting Assistant Professor Center for the Study of World

Musics, Kent State UniversityKent, OH

Jacqueline PetersProgram Specialist100 Black Men of Greater

Charlotte, Inc.Charlotte, NC

David RocheDirectorLocal CulturesPoint Richmond, CA

Lorenzo TrujilloDirector of Educational ServicesAdams County School District 14Commerce City, CO

Joseph WilsonExecutive DirectorNational Council for the

Traditional ArtsSilver Spring, MD

Education & Access:Panel AHeritage &Preservation: Panel A

Tina BucuvalasFolkloristBureau of Historic Preservation,

Department of StateTallahassee, FL

Elizabeth DearCuratorCharles M. Russell MuseumGreat Falls, MT

Jill LinzeeFolklorist, EthnomusicologistNorthwood, NH

Richard MarchTraditional and Ethnic Arts

CoordinatorWisconsin Arts BoardMadison, WI

Reaves NahwooksyDirectorInstitute of American Indian Arts

MuseumSanta Fe, NM

J. Sanford Rikoon(Layperson)Associate Professor of Rural

SociologyUniversity of MissouriColumbia, MO

Catherine SchwoeffermannCurator and Program DirectorRoberson Museum and Science

CenterBinghamton, NY

Gary StantonAssistant Professor of Historic

PreservationMary Washington CollegeFredericksburg, VA

Hector VegaEthnomusicologist (retired)San Juan, PR

Lesley WilliamsFolk Arts CoordinatorSouth Carolina Arts CommissionColumbia, SC

Debora WongAssistant Professor of

Ethnomusicology, MusicologyUniversity of California, RiversideRiverside, CA

Education & Access:Panel BHeritage &Preservation: Panel B

Norma Elia CantuProfessor of EnglishTexas A & M International

UniversityLaredo, TX

Carol EdisonState Folk Arts CoordinatorUtah Arts CouncilSalt Lake City, UT

Joyce JacksonAssociate Professor of

AnthropologyLouisiana State UniversityBaton Rouge, LA

Richard MarchTraditional and Ethnic Arts

CoordinatorWisconsin Arts BoardMadison, WI

Panelists

38


Helen Hubbard MarrFolk Arts ConsultantCos Cob, CT

Phong NguyenVisiting Assistant ProfessorCenter for the Study of World

Musics, Kent State UniversityKent, OH

J. Sanford Rikoon(Layperson)Associate Professor of Rural

SociologyUniversity of MissouriColumbia, MO

Catherine SchwoeffermannCurator and Program DirectorRoberson Museum and Science

CenterBinghamton, NY

Willie SmythFolk Arts CoordinatorWashington State Arts CommissionOlympia, WA

David TaylorFolklife SpecialistLibrary of CongressWashington, DC

E. Henry Willett, IIIDirectorAlabama Center for the

Traditional ArtsMontgomery, AL

Literature

Creation & PresentationPlanning & Stabilization

Paul CoatesPublisherBlack Classic PressBaltimore, MD

Lorin CuocoPoet, Associate DirectorInternational Writers CenterSt. Louis, MO

C. Michael CurtisWriter, Senior EditorThe Atlantic MonthlyLittleton, MA

Saskia HamiltonPoet, Director of Literary ProgramsLannan FoundationSanta Fe, NM

Cheryl HurleyPresidentLibrary of AmericaNew York, NY

Elise PaschenPoet, Executive DirectorPoetry Society of AmericaChicago, IL

Winter Prosapio (Layperson)Media Relations ConsultantCanyon Lake, TX

Paul ShafferWriter, Executive DirectorLog Cabin Literary CenterBoise, ID

Jeanie ThompsonPoet, Executive DirectorAlabama Writers’ ForumMontgomery, AL

Education & AccessHeritage & Preservation

Jack AguerosWriter, Translator, Arts

AdministratorNew York, NY

Teresa Bonner (Layperson)Former Attorney, Director of

Community AffairsPiper Jaffray, Inc.Eden Prairie, MN

David FenzaPoet, Executive DirectorAssociated Writing ProgramsFairfax, VA

Linda JaechPresidentRichard Hugo HouseSeattle, WA

Guy LebedaEssayist, Literature CoordinatorUtah Arts CouncilSalt Lake City, UT

Mary Gay ShipleyFounder and OwnerThat Bookstore in BlythevilleBlytheville, AR

Luci TapahonsoPoet, Children’s Author, Associate

Professor of EnglishUniversity of KansasLawrence, KS

Luis Alberto UrreaPoet, Essayist, Writer-in-ResidenceUniversity of Southwestern

LouisianaLafayette, LA

C.D. WrightPoet, Co-DirectorLost Roads PublishersBarrington, RI

Local Arts Agencies

Education & AccessHeritage & PreservationPlanning & Stabilization

Lee BettonOwner and Principal ManagerBetton Concert ArtistsAurora, CO

Ludy BiddleDirectorThe Terezin ProjectShrewsbury, VT

Norree BoydVice President and Chief

Operating OfficerPalm Beach County Cultural

CouncilWest Palm Beach, FL

39

Julia M. BrownProject ManagerSouth Carolina Department of

Parks, Recreation and TourismColumbia, SC

Romelia EscamillaConsultant, Community VolunteerCentro Alameda, Inc.San Antonio, TX

June Freeman (Layperson)TrusteeArkansas Arts Center and

Decorative Arts MuseumLittle Rock, AR

Jeff PrauerExecutive DirectorCOMPAS (Community Programs in

the Arts)St. Paul, MN

Eric Rogers Executive DirectorJay County Arts CouncilPortland, IN

Local Arts Agencies/Presenting/Multidisciplinary


Stephanie AnconaManager, Creation and

Presentation FundNew England Foundation for the ArtsBoston, MA

Phyllis BrzozowskaConsultant, Founder,

Former Executive DirectorCITYFOLKDayton, OH

Tina ChanceyMusician, Founding Member,

Producing DirectorHesperus Chamber EnsembleArlington, VA

Michael P. GarciaSenior ConsultantAmherst H. Wilder Foundation

Community Services GroupSt. Paul, MN

Kathy HotchnerDirector of Performing Arts

Programming and OperationsScottsdale Cultural CouncilScottsdale, AZ

Richard Jay Hutto (Layperson)Attorney, Fundraising ConsultantMacon, GA

Terrence Jones President and Chief Executive OfficerWolf Trap Foundation for the

Performing ArtsVienna, VA

Kenneth C. RaphaelActor, Performing Arts Producer,

EducatorNew Orleans, LA

Cedric D. Reverand IIDirector of Cultural Programs,

Professor of EnglishUniversity of WyomingLaramie, WY

Gregory S. ShanckTheater ManagerHostos Center for the Arts and

CultureBrooklyn, NY

Vanessa WhangArts Education Program DirectorEast Bay Community FoundationBerkeley, CA

Media Arts

Creation & Presentation: Panel APlanning & Stabilization

Harriet BaskasIndependent Radio ProducerGeneral Manager, KBCS-FMSeattle, WA

Joyce CampbellExecutive Producer, News and

Public AffairsKCET-TVLos Angeles, CA

Albert Casciero(Layperson)Associate Vice President, Learning

ResourcesUniversity of the District of ColumbiaWashington, DC

Cynthia FennemanIndependent Television ProducerKittery, ME

Rob GordonGeneral ManagerWPLN-FMNashville, TN

ReGina HaysMarketing and Communications

ManagerChicago Park DistrictChicago, IL

Laura Waterman WittstockPresidentMIGIZI CommunicationsMinneapolis, MN

Creation & Presentation:Panel B

Juanita AndersonIndependent Film and Television

Director, ProducerLegacy Productions, Inc.Roxbury, MA

William J. HorriganMedia Arts CuratorDirector, Art and Technology Video

Production FacilityWexner Center for the ArtsColumbus, OH

Susan LeonardDirectorSouth Carolina Arts Commission

Media Arts CenterColumbia, SC

Panelists

40


Suzanne MauzeFilm Sales AssociateSouth By Southwest Film Festival

and ConferenceAustin, TX

John PiersonExecutive Producer, Split ScreenProducer’s Representative, Grainy

PicturesCold Spring, NY

H. Randall Williams(Layperson) PresidentBlack Belt Communications, Inc.Montgomery, AL

Eddie WongExecutive DirectorNational Asian American

Telecommunications AssociationSan Francisco, CA

Education & Access:Panel AHeritage & Preservation

Susan BraineManagerKUYI-FMHotevilla, AZ

John Garrou(Layperson) Managing PartnerWomble, Carlyle, Sandridge & RiceWinston-Salem, NC

Ron HullPublic Broadcasting ExecutiveLincoln, NE

Rebecca LawrenceExecutive DirectorNew Hampshire State Council on

the ArtsConcord, NH

Joan RabinowitzRadio Producer, EthnomusicologistSeattle, WA

Suzanne WeilIndependent ProducerSanta Monica, CA

Education & Access:Panel B

Randy Akers(Layperson)Executive DirectorSouth Carolina Humanities CouncilColumbia, SC

Patti BruckIndependent FilmmakerInstructor, Film Studies Department,

University of ColoradoBoulder, CO

Mable HaddockExecutive DirectorNational Black Programming

ConsortiumColumbus, OH

Elisabeth Perez LunaIndependent Radio Producer,

JournalistEarmark West Chester, PA

Pam RobertsIndependent Producer, DirectorBozeman, MT

Richard TellerDeputy Director of DevelopmentMuseum of Television and RadioNew York, NY

Multidisciplinary


Ping ChongArtistic DirectorFiji Theater CompanyNew York, NY

Susan DowlingIndependent Media ConsultantCambridge, MA

Kristy EdmundsExecutive Director and CuratorPortland Institute for Contemporary

ArtPortland, OR

Amy LamphereExecutive DirectorWagon Train ProjectLincoln, NE

Sylvia OrozcoArtist Executive Director, Mexic-ArteAustin, TX

Gail Robinson OturuAssistant Professor of MusicBethune-Cookman CollegeDaytona Beach, FL

David RodriguezExecutive DirectorJohn Harms TheaterEnglewood, NJ

Marah RosenbergSenior Technical AssociateLucent TechnologiesHomldel, NJ

Mike Wilkerson(Layperson)University AdministratorIndiana UniversityBloomington, IN

Patrick ZentzArtistLaurel, MT

Education & Access: Panel A and BHeritage & Preservation

The Rev. Antoine Campbell(Layperson)St. James Episcopal ChurchHouston, TX

Alonzo DavisDean of Academic AffairsMemphis College of ArtsMemphis, TN

Imani Drayton-HillArts ConsultantTakoma Park, MD

41

Gene DuganArtistic DirectorOut North Contemporary Art

HouseAnchorage, AK

Juanita Espinosa Executive DirectorNative Arts CircleMinneapolis, MN(Served on Education & Access:Panel A only)

Sandra Furey-GaitherProgram DirectorInternational House of Blues

FoundationCambridge, MA

Michael MaoArtistic DirectorMichael Mao DanceNew York, NY

Gerard MartinezDirectorOffice of Intercultural AffairsSanta Fe, NM

Berti Rodriguez VaughanProgram DirectorSan Antonio Parks and Recreation

DepartmentSan Antonio, TX

Timothy SauersDirector of ProgramsUrban GatewaysChicago, IL

Corby Skinner Director, The Writer’s Voice

ProjectBillings Family YMCABillings, MT


Sonja CarlborgExecutive DirectorRagdale FoundationLake Forest, IL

Scinthya EdwardsExecutive DirectorYaYa, Inc.New Orleans, LA

Moy EngProgram OfficerJoyce Mertz-Gilmore FoundationNew York, NY

Timothy HedgepethProgram AdministratorMississippi Arts CommissionJackson, MS

Anthony KellerExecutive DirectorCharter Oak Cultural CenterHartford, CT

Kim KonikowDirectorartservices & companyMinneapolis, MN

Stephanie RivenExecutive DirectorCenter of Contemporary ArtSt. Louis, MO

Catherine Rudinsky(Layperson)President, CeramicaPortland, OR

Albert SotoDirector of Grants ProgramsTuscon-Pima Arts CouncilTuscson, AZ

Museums

For the Creation & Presentationpanel, please refer to theDESIGN/MUSEUMS section. ForEducation & Access and Planning &Stabilization panels, please refer tothe DESIGN/MUSEUMS/VISUALARTS section.

Music

Creation & Presentation:Panel A

Ronald CrutcherDirector, School of MusicUniversity of Texas at AustinCellist, The Klemperer TrioAustin, TX

Jacqueline DavisExecutive Director, Lied Center of

KansasUniversity of KansasLawrence, KS

Mary Hall DeisslerExecutive DirectorHandel & Haydn SocietyBoston, MA

Catherine FrenchArts Consultant Former President, American

Symphony Orchestra LeagueWashington, DC

Raymond HarveyMusic Director and ConductorFresno PhilharmonicFresno, CA

John La BarberaJazz Musician, Composer, ArrangerAssistant Professor of MusicUniversity of LouisvilleLouisville, KY

Peter MarshallOrganist, Harpsichordist, Early

Music ScholarAtlanta, GA

Alberto RafolsDirector, Grants and Community

ProgramsRegional Arts and Culture CouncilPortland, OR

Tim Savinar(Layperson)Attorney, Arts PatronSan Francisco, CA

Panelists

42


Chen YiProfessor, Conservatory of MusicUniversity of MissouriKansas City, MO

Edward YimArtistic AdministratorThe Cleveland OrchestraCleveland Heights, OH

Creation & Presentation: Panel B

Paulette Arkle BlackArts Education DirectorOklahoma Arts CouncilOklahoma City, OK

Susan FrananoInterim Executive DirectorOhio Citizens for the ArtsNew Albany, OH

Douglas GerhartExecutive DirectorAlabama SymphonyBirmingham, AL

Richard P. MartinDirector, McCain AuditoriumKansas State UniversityManhattan, KS

Robert PageMusic Director and ConductorMendelssohn Choir of PittsburghPittsburgh, PA

Robert X. RodriguezComposer-in-Residence, San

Antonio SymphonyProfessor, Arts and Humanities,

University of Texas at DallasRichardson, TX

Peter SmithExecutive DirectorGrand Rapids SymphonyGrand Rapids, MI

Joan H. SquiresPresident and Chief Executive

OfficerPhoenix Symphony OrchestraPhoenix, AZ

Dallas TidwellClarinetist, Kentucky Center

Chamber PlayersFaculty, Department of Music,

University of LouisvilleLouisville, KY

Lorenza N. Whitney(Layperson)Arts Patron, Elementary School

Principal (retired)Sarasota, FL


Carole BirkheadB

Arts PatronLouisville, KY

Bruce CarrA

Writer, Lecturer, ConsultantIowa Department of Cultural

AffairsDes Moines, IA

Bruce CoppockB

Vice President and Director,The Orchestra Academy

American Symphony OrchestraLeague

Chevy Chase, MD

Janet CowperthwaiteB

Managing DirectorKronos QuartetSan Francisco, CA

Robert FreemanA

PresidentNew England Conservatory of

MusicBoston, MA

Alexine Clement JacksonB

(Layperson)Arts Patron, Board MemberWashington Performing Arts

SocietyPotomac, MD

Steven Ovitsky A

Executive DirectorMilwaukee SymphonyWhitefish Bay, WI

Hector Ponce B

Administrator, San AntonioIndependent School District

PercussionistSan Antonio, TX

Bernice Price A

Assistant Professor of HumanitiesAlabama State UniversityMontgomery, AL

Georgia Ryder A

Dean Emerita, School of Arts &Letters

Norfolk State UniversityNorfolk, VA

George Sams A

Jazz InstrumentalistDistrict Band Director, Lovejoy

School DistrictSt. Louis, MO

William Vickery A

Executive DirectorArkansas Symphony OrchestraLittle Rock, AR

Daniel WindhamB

Executive DirectorKansas City Young Audiences, Inc.Kansas City, MO

William Zukof B

Co-Artistic Director and ExecutiveDirector

The Western Wind EnsembleNew York, NY

A Served on Education & Access:Panel A

B Served on Education & Access:Panel B

43

Music/Opera


Mimi Denton BravarBoard MemberNew Hampshire State Council on

the ArtsBedford, NH

Jane E. HunterExecutive DirectorPortland Symphony OrchestraPortland, ME

James D. IrelandGeneral Manager, Houston Grand

OperaProgram Supervisor, Houston

Opera StudioManager, Wortham Center

Operating CompanyHouston, TX

Philip M. Lanier(Layperson)Arts Patron, Attorney (retired)Louisville, KY

E. Howard NelsonSenior Grants Officer (retired)Michigan Council for Arts and

Cultural AffairsHilton Head, SC

Carol PentermanExecutive Director and Chief

Executive OfficerNashville Opera AssociationMezzo SopranoNashville, TN

Maria Dolores Sasso TaylorPresident, Sasso International

CorporationLoan Officer, Eagle Funding Group,

Ltd.Annapolis, MD

Larry TamburriExecutive DirectorNew Jersey Symphony OrchestraMaplewood, NJ

Willie Anthony WatersConductor and Music Director,

Connecticut OperaArtistic Director and Principal

Conductor, Florida Grand Opera

Miami, FL

Catherine Wichterman(Layperson)Program Officer for the

Performing ArtsAndrew W. Mellon FoundationNew York, NY(Served only for the Music applications)

MusicalTheater/Theater

Creation & Presentation:Panel A

Jim ClarkProducing Director, Syracuse StageDirector, Department of Drama,

Syracuse UniversitySyracuse, NY

John DillonDirectorSeattle, WA

Diane Durgin(Layperson)Attorney, ArbitratorAtlanta, GA

Linda EarleDirector, Theatre ProgramNew York State Council on the ArtsNew York, NY

Tony GarciaArtistic DirectorSu TeatroDenver, CO

Ron HimesFounder and Producing DirectorSt. Louis Black Repertory CompanySt. Louis, MO

Ben LevitArtistic DirectorAmerican Music Theater FestivalPhiladelphia, PA

Susan MedakManaging DirectorBerkeley Repertory TheatreBerkeley, CA

John OstroutExecutive DirectorConnecticut Commission on the

ArtsHartford, CT

Guillermo ReyesPlaywrightFaculty, Department of TheatreArizona State UniversityTempe, AZ

Mary Hall SurfacePlaywright, DirectorWashington, DC

Paul TetreaultManaging DirectorAlley TheaterHouston, TX

Creation & Presentation:Panel B

Douglas AibelArtistic DirectorVineyard TheatreNew York, NY

Robert AlpaughExecutive DirectorJoffrey Ballet of ChicagoChicago, IL

Chris ColemanArtistic DirectorActors ExpressAtlanta, GA

Walter DallasArtistic DirectorFreedom TheatrePhiladelphia, PA

Panelists

44


David HawkinsonManaging DirectorThe Guthrie TheaterMinneapolis, MN

Rafael Lopez-BarrantesCo-Artistic DirectorArchipelago TheatreChapel Hill, NC

Charles NewellArtistic DirectorCourt TheatreChapel Hill, NC

Paul NicholsonExecutive DirectorOregon Shakespeare FestivalAshland, OR

Barbara L. Pearce(Layperson)Realtor, Board MemberGuilford, CT

Jorge PinaTheatre Program DirectorGuadalupe Cultural Arts CenterSan Antonio, TX

Elmo Terry-MorganArtistic DirectorRites and Reason TheatreProvidence, RI

Paula TomeiManaging DirectorSouth Coast RepertoryCosta Mesa, CA


William W. CookProfessor and Chair, Department of

EnglishDartmouth CollegeHanover, NH

Richard H. Hahn(Layperson)AttorneyConsultant to Nonprofit

OrganizationsCleveland Heights, OH

Linda HartzellArtistic DirectorSeattle Children’s TheatreSeattle, WA

John A. HaynesA

Executive DirectorChildren’s Theatre CompanyMinneapolis, MN

Thomas W. Jones IICo-Artistic DirectorJomandi ProductionsAtlanta, GA

Wesley V. MontgomeryDirector of EducationNew 42nd Street, Inc.New York, NY

Carol NorthProducing DirectorMetro Theater CompanySt. Louis, MO

Bill RauchArtistic DirectorCornerstone Theater CompanyLos Angeles, CA

Daniel RennerDirector of EducationDenver Center Theater CompanyDenver, CO

Ernest RubioGrants Administrator, Office of

Cultural AffairsCity of San AntonioSan Antonio, TX

Susan TsuCostume DesignerAustin, TX

Diane WondisfordA

General DirectorMusic-Theatre GroupNew York, NY

A Served on Education & Access: Panel A only

Planning &Stabilization: Panel A and B

Cliff Fannin BakerProducing Artistic DirectorArkansas Repertory TheatreLittle Rock, AR

Clinton Turner DavisAssociate Professor of Drama and

DanceColorado CollegeColorado Springs, CO

Michael Maso Managing DirectorHuntington Theater CompanyBoston, MA(Served on Panel A only)

Greg RoweProgram Officer for CultureThe Pew Charitable TrustsPhiladelphia, PA

Jane W. Schlegal(Layperson)Fundraising and Program

Development ConsultantNew Directions, Inc.Indianapolis, IN

Pam SterlingArtistic DirectorIdaho Theater for YouthBoise, ID

Jeff WoodwardManaging DirectorMcCarter TheatrePrinceton, NJ

45

Opera


Ann Delchamps(Layperson)VolunteerAlabama State Council on the ArtsMobile, AL

David DiChieraFounding General Director,

Michigan Opera TheatreArtistic Director, Opera Pacific Detroit, MI

John DuffyComposerBelfast, ME

Robert HeuerGeneral Manager and Chief

Executive OfficerFlorida Grand OperaMiami, FL

Patricia MosselExecutive DirectorThe Washington OperaWashington, DC

Shoko Kato Sevart(Layperson)Arts Patron, AttorneySevart & SevartWichita, KS

Education & Access

Ernesto AlordaDirector of Community and Artist

Relations Seattle Opera AssociationSeattle, WA

Carmen BalthropSoprano, EducatorMitchellville, MD

Joan LounsberyManaging DirectorStarlight Opera TheatreMilwaukee, WI

Charles MacKayGeneral DirectorOpera Theatre of Saint LouisSt. Louis, MO

Christopher Paddack(Layperson)Creative Arts Program Officer

(retired)United States Information AgencyWashington, DC

Randall RosenbaumExecutive DirectorRhode Island State Council on the

ArtsProvidence, RI

Presenting

Education & AccessPlanning & Stabilization

Duane EbataManaging DirectorJapanese-American Cultural

CenterLos Angeles, CA

Avner EisenbergTheater ArtistPeaks Island, ME

Homer E. FingerDirector, Williams Center for the ArtsLafayette CollegeEaston, PA

Mollie Lakin-HayesPrograms AdministratorArizona Commission on the ArtsPhoenix, AZ

Herman Milligan(Layperson)Vice PresidentNorwest CorporationMinneapolis, MN

Ira PermanExecutive DirectorAnchorage Concert AssociationAnchorage, AK

Michael RossExecutive DirectorKrannert Center for the Performing

ArtsUniversity of IllinoisUrbana, IL

Arlene ShulerSenior Vice President, Planning and

External AffairsLincoln Center for the Performing ArtsNew York, NY

Andrea WagnerExecutive DirectorSeattle International Children’s

FestivalSeattle, WA

M.K. WegmannPresidentM.K. Arts CompanyNew Orleans, LA

Visual Arts/Design


Janeen AntoineExecutive DirectorAmerican Indian Contemporary ArtsSan Francisco, CA

Nina BrockArts PatronLookout Mountain, TN

Kevin DugganSenior Program Officer for

Services and TechnologyNew York Foundation for the ArtsNew York, NY

Richard FleischnerSculptorProvidence, RI

William F. Griffith, M.D.(Layperson)Obstetrician-GynecologistDenver, CO

Panelists

46


Marjorie LevyExecutive DirectorPilchuck Glass SchoolSeattle, WA

Grover MoutonProfessor, Department of

ArchitectureTulane UniversityNew Orleans, LA

Saralyn Reece HardyDirectorSalina Art CenterSalina, KS

MaLin WilsonArt Critic, WriterSanta Fe, NM

Hamza WalkerDirector of Education,

The Renaissance SocietyUniversity of ChicagoChicago, IL

American Jazz MastersFellowships

Stephanie AnconaFund Manager, Creation and

PresentationNew England Foundation for the ArtsBoston, MA

Suzan E. JenkinsExecutive Director, America’s Jazz

HeritageSmithsonian InstitutionWashington, DC

Amy McCombs(Layperson)President and Chief Executive

Officer, Chronicle BroadcastingCompany

President and General Manager,KRON-TV

San Francisco, CA

Billy TaylorPianist, Composer Correspondent, CBS’s Sunday

MorningNew York, NY

Frederick TillisComposer, Saxophonist, Director

EmeritusFine Arts CenterAmherst, MA

Literature Fellowships(Poetry and Translation)

Albert Goldbarth P

Poet, Professor of EnglishWitchita State UniversityWichita, KS

Rachel HadasPoet, ProfessorRutgers UniversityNew Brunswick, NJ

Linda Hogan P

Poet, Associate Professor of EnglishUniversity of ColoradoIdledale, CO

Heather McHughPoet, Professor of Creative WritingUniversity of WashingtonSeattle, WA

Pat MoraPoetEdgewood, KY

Alexander Ooms(Layperson)Management ConsultantPrice WaterhouseLos Angeles, CA

Reginald ShepherdPoet, Assistant ProfessorNorthern Illinois UniversityChicago, IL

James TateP

Poet, ProfessorUniversity of MassachusettsAmherst, MA

Carolyne WrightPoet, Visiting WriterEmory UniversityDecatur, GA

PServed for Poetry Fellowshipsonly.

National HeritageFellowships

Marisol Berrios-MirandaEthnomusicologistSeattle, WA

Janet GilmoreFolkloristMt. Horeb, WI

Charlotte HethAssistant Director for Public

ProgramsNational Museum of the American

IndianSmithsonian InstitutionWashington, DC

Patricia JasperExecutive DirectorTexas Folklife ResourcesAustin, TX

Suzi JonesDeputy DirectorAnchorage Museum of History and

ArtAnchorage, AK

Jill LinzeeFolklorist, EthnomusicologistNorthwood, NH

Worth LongFolkloristAtlanta, GA

Gordon McCann(Layperson)BusinessmanSpringfield, MO

47

Lorraine SakataAssociate Dean for Academic AffairsUniversity of California at Los

AngelesLos Angeles, CA

Barre ToelkenDirector, Folklore ProgramUtah State UniversityLogan, UT

Joseph T. WilsonExecutive DirectorNational Council for the

Traditional ArtsSilver Spring, MD

Steven J. ZeitlinDirector and Co-FounderCity Lore, Inc.New York, NY

Regional PartnershipAgreements

Panel A

Jeffrey Dunn(Layperson)ChairmanSouthern Arts FederationJacksonville, FL

Colleen Jennings-RoggensackDirector of Public EventsArizona State UniversityTempe, AZ

Susie SurkamerExecutive DirectorSouth Carolina Arts CommissionColumbia, SC

Timothy WilsonExecutive DirectorWestern Arts AllianceSan Francisco, CA

Panel B

Christopher Abele(Layperson)AttorneyBadger and LevingsAtlanta, GA

Rick GeorgeDirector of Grant ProgramsGeorgia Council for the ArtsAtlanta, GA

Ricardo HernandezDirector of ProgramsTexas Commission on the ArtsAustin, TX

Thomas SchorglExecutive DirectorCommunity Partnership for Arts and

CultureCleveland, OH

State PartnershipAgreements

Panel A

Betsy BradleyExecutive DirectorMississippi Arts CommissionJackson, MS

Shelley CohnExecutive DirectorArizona Commission on the ArtsPhoenix, AZ

Jim Hill(Layperson)Hill Management CompanySignal Mountain, TN

Dennis HolubExecutive DirectorSouth Dakota Arts CouncilPierre, SD

Mary KelleyExecutive DirectorMassachusetts Cultural CouncilBoston, MA

Abel LopezAssociate Producing DirectorGALA Hispanic TheaterWashington, DC

Panel B

James Borders, IVExecutive DirectorLouisiana Division of the ArtsBaton Rouge, LA

Libby ChiuExecutive DirectorUrban GatewaysChicago, IL

Rebecca LawrenceExecutive DirectorNew Hampshire State Council on

the ArtsConcord, NH

Wayne LawsonExecutive DirectorOhio Arts CouncilColumbus, OH

David A. MillerDeputy Executive DirectorNew Jersey State Council on the ArtsHightstown, NJ

David NelsonFormer Executive DirectorMontana Arts CouncilLolo, MT

Judith RapanosChairMichigan Council for Arts and

Cultural AffairsMidland, MI

National MillenniumProjects

Arts on Millennium Trails

Greg EsserPublic Art Program ManagerPhoenix Arts CommissionPhoenix, AZ

Marianne Wesley FowlerSenior Vice President for ProgramsRails-to-Trails ConservancyAlexandria, VA

Panelists

48


Mags HarriesVisual Artist, EducatorPresident, Harries Heder

CollaborativeCambridge, MA

Jens LundFolklorist, Filmmaker, ConsultantOlympia, WA

Neville Murray Underserved Arts SpecialistNebraska Arts CouncilOmaha, NE

Freeman OwleStoryteller, CarverAdvisor, Cherokee Heritage Trails

ProjectCherokee, NC

Treasures of AmericanFilm Archives

Jeanine BasingerChair, Film StudiesWesleyan UniversityMiddletown, CT

Anthony GittensExecutive Director, DC Commission

on the Arts and HumanitiesFounder and Director, Washington

DC International Film FestivalWashington, DC

Richard TellerDeputy Director of DevelopmentMuseum of Television and RadioNew York, NY

H. Randall Williams(Layperson)Community Arts AdvocatePresident, Black Belt

Communications GroupMontgomery, AL

InternationalExchanges

Cornelia CareyExecutive DirectorCraft Emergency Relief FundMontpelier, VT

Valerie CasselDirector, Visiting Artists ProgramSchool of the Art Institute of

ChicagoChicago, IL

Y. David ChungArtistMcLean, VA

Michael Peranteau(Layperson)DirectorCenter for AIDS/Hope and

Remembrance ProjectHouston, TX

AccessAbility

Panel A

Larry FieldPresidentLaurence Field & AssociatesMiddletown, DE

Gay DrennonExecutive DirectorVery Special ArtsTallahassee, FL

Patricia LairdProgram SpecialistAdministrator on Developmental

Disabilities, U.S. Department ofHealth and Human Services

Washington, DC

Marirose MorrisAccess CoordinatorWyoming Arts CouncilCheyenne, WY

Mark TownerAssistant DirectorN.E. Document Conservation

CenterAndover, MA

Panel B

C.C. ConnerManaging DirectorHouston BalletHouston, TX

Rebecca Z. Mays(Layperson)Arts Volunteer, Medical

Administrator, (retired)Charleston, SC

Gail SilvaDirectorFilm Arts FoundationSan Francisco, CA

ArtsREACH

Cheryl Davis BowmerOrganizational Development

ConsultantPhiladelphia, PA

Ray DoughtyMusic Educator (retired)Fort Mill, SC

John GonzalesPotter, Tribal Affairs SpecialistSanta Fe, NM

Richard HuffExecutive DirectorIrving Arts CenterIrving, TX

Dennis JonesDirector, Center for Design ScienceVirginia Polytechnic Institute and

State UniversityBlacksburg, VA

49

James Lysen(Layperson)Planning DirectorCity of LewistonLewiston, ME

Charlie SeemanExecutive DirectorWestern Folklife CenterElko, NV

Sonia TowerDirector, Office of Cultural AffairsCity of BuenaventuraVentura, CA

An-Ming TruxesSenior Program ManagerConnecticut Commission on the

ArtsHartford, CT

Amy Jordan WebbDirector, Heritage Tourism ProgramNational Trust for Historic

PreservationBoulder, CO

Folk & TraditionalArts InfrastructureInitiative

C. Kurt DewhurstDirectorMichigan State University MuseumEast Lansing, MI

Maria Carmen GamblielFolk Arts DirectorIdaho Commission on the ArtsBoise, ID

Alan JabbourDirector, American Folklife CenterLibrary of CongressWashington, DC

Dorothy Sara-Louise Lee(Layperson)Associate Rector for Evangelism

and Spiritual FormationSt. Paul’s Episcopal ChurchIndianapolis, IN

Peter MattairExecutive DirectorFund for Folk CultureSanta Fe, NM

Rita MoonsammyManager of Community Arts

ServicesNew Jersey State Council on the ArtsTrenton, NJ

Shalom StaubPresident and Chief Executive

OfficerInstitute for Cultural PartnershipsHarrisburg, PA

Chamber MusicResidency

Stephanie AnconaManager, Creation & Presentation

FundNew England Foundation for the ArtsBoston, MA

Carole Birkhead(Layperson)Former Chair, American Symphony

Orchestra LeagueFormer President, Louisville

Symphony OrchestraLouisville, KY

Colleen Jennings-RoggensackExecutive Director, Public EventsArizona State UniversityTempe, AZ

Dance LeadershipInitiatives

Norman A. Brown(Layperson)TeacherMcCullough Elementary SchoolNew Castle, DC

Marda KirnFounderColorado Dance FestivalLafayette, CO

Nancy TrovillionAssistant DirectorNorth Carolina Arts CouncilRaleigh, NC

Maria Troy Associate CuratorWexner Center for the ArtsColumbus, OH

Financial Summary

50


Summary of Funds Available1 Fiscal Year 1999

Program and State Grant Funds2 $66,022,000Matching Grant Funds (3:1 match) 14,500,000

Total Federal Appropriations $80,522,000

Nonfederal Gifts3 $232,185Interagency Transfers3 430,000Unobligated Balance, Prior Year3 3,800,174

Total Funds Available $84,984,359

1 Excludes salaries and expenses, program support and computer conversion funds.2 The FY 1999 appropriation includes $25,486,000 for support of state arts agencies and regional arts organizations

and $6,952,000 for support through the underserved communities set-aside.3 Only grantmaking funds, including unobligated commitments totaling $1,245,392.

Funds Obligated Fiscal Year 1999

Grants to OrganizationsCreation & Presentation $17,165,950Education & Access 12,309,520Heritage & Preservation 3,548,000Planning & Stabilization 5,866,597

Grants to IndividualsLiterature Fellowships 800,000American Jazz Masters Fellowships 60,000National Heritage Fellowships 130,000

State and Regional Partnerships 33,827,175Leadership Initiatives

National Millennium Projects 2,116,886International Exchanges 375,000AccessAbility 257,000ArtsREACH 749,280Folk & Traditional Arts Infrastructure Initiative 810,000Other Initiatives (includes Interagency Partnerships) 4,098,255

Policy Research & Analysis 500,000

Total Funds Obligated 4 $82,613,663

4 Program obligations reflect FY 1999 transactions and in some cases may differ from final allocations due to variations in the obligations of prior year monies or receipt of gifts and funds from other agencies.

51

Appropriations History19 9 9 A N N U A L R E P O R T

Fiscal Year Total Funds

1966 $ 2,898,308

1967 $ 8,475,692

1968 $ 7,774,291

1969 $ 8,456,875

1970 $ 9,055,000

1971 $ 16,420,000

1972 $ 31,480,000

1973 $ 40,857,000

1974 $ 64,025,000

1975 $ 80,142,000

1976 $ 87,455,000

1976T* $ 35,301,000

1977 $ 99,872,000

1978 $ 123,850,000

1979 $ 149,585,000

1980 $ 154,610,000

1981 $ 158,795,000

1982 $ 143,456,000

1983 $ 143,875,000

1984 $ 162,223,000

1985 $ 163,660,000

1986 $ 158,822,240

1987 $ 165,281,000

1988 $ 167,731,000

1989 $ 169,090,000

1990 $ 171,255,000

1991 $ 174,080,737

1992 $ 175,954,680

1993 $ 174,459,382

1994 $ 170,228,000

1995 $ 162,311,000

1996 $ 99,470,000

1997 $ 99,494,000

1998 $ 98,000,0001999 $ 97,966,000

* In 1976, the Federal government changed the beginning of the fiscal year from July 1 toOctober 1, hence the 1976 Transition (T) Quarter.

Fiscal Years 1966-1999

52

1999 Annual Report published by:

National Endowment for the Arts Office of Communications

Katherine L. Wood, Acting Director

Victoria Hutter, Editor

With thanks to the staff for their assistance.

Designed by:Simmons Design, Arlington, Virginia

Cover photos

Background:The New York City-based modern dance ensemble, Susan Marshall & Company, per-formed The Most Dangerous Room in the House at the Edinburgh International Festivalwith support from the NEA’s Fund for U.S. Artists at International Festivals andExhibitions. Photo by Geoffrey M. Hansen

Boxed photos, clockwise from upper left:The Philharmonia Chorale performing with the Philharmonia Baroque Orchestra inHandel’s oratorio Solomon, a company premiere that opened the orchestra’s 18th homeseason in the Bay Area. Photo by Marty Sohl

A camper creates with clay at AileyCamp in Kansas City, Missouri. Inspired by the latechoreographer Alvin Ailey, AileyCamp provides young people with dance instruction, lifeskills classes, guest speakers and field trips. Photo by Judith Burngen

A scene from Forgiveness, a theater piece of the Asia Society, an international organiza-tion based in New York City. Photo by Rachel Cooper, Asia Society

A Folk & Traditional Arts Infrastructure Initiative grant to the Iowa Arts Council supportedthe Festival of Iowa Folklife. Festival artists featured here are two Kalona Quilters. Photoby Steve Ohrn

Voice/TYY:(202)682-5496For individuals who are deaf or hard-of-hearing

Individuals who do not use conventional print may contact the ArtsEndowment’s Office for AccessAbility to obtain this publication in an alternateformat. Telephone: (202) 682-5532

National Endowment for the Arts1100 Pennsylvania Avenue, NWWashington, D.C. 20506-0001(202) 682-5400

This annual report can be accessed electronically at the NEA Web site: http://www.arts.gov.

Credits19 9 9 A N N U A L R E P O R T

NATIONAL ENDOWMENT FOR THE ARTS1100 PENNSYLVANIA AVENUE, NW, WASHINGTON, DC 20506-0001

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