ANNUAL REPORT
 

1966
 

NATIONAL ENDOWMENT FOR THE ARTS
 

Letter of Transmittal
 

Washington, D.C.
 

January 15, 1967
 

My Dear Mr. President:
 

I have the honor to submit herewith the annual report of the National
 

Endowment for the Arts and the National Council on the Arts for the
 

fiscal year ending June 30, 1966.
 

Respectfully,
 

Roger Stevens, Chairman
 

National Endowment for the Arts
 

The Honorable
 

The President of the United States
 
TABLE OF CONTENTS
 

The Chairman’s Statement .................................................
 

Organization 4
 

A Broad Congressional Mandate ......................................... 7
 

Congressional Authorization and Appropriations ........................
 8
 

The Unrestricted Gift Fund ............................................
 

I0
 

Scope and Exposure of Initial Programs ...................................
 

13
 

National Endowment for the Arts Purpose and Activities .........
 14
 

National Council on the Arts Purpose and Activities ......................
 

Program Activities o£ the National E~dowm~nt for the Arts
 22
 

and the National Council on the Arts ................
 

For the Arts
 23
 

Architecture .............................................
 26
 

Arts and Education .......................................
 34
 

Costume and Fashion Design ...............................
 35
 

Creative Writing ....................................... oo 

39 "
 

49
 Dance ....................................................
 

Drama .....................................................
 51
 

Folk Art .................................................
 52
 

Music ....................................................
 55
 

Public Media .............................................
 58
 

Variety of Art Forms .....................................
 68
 

Visual Arts ..............................................
 

For the State Arts Asencies
 70
 

The Program o~ Assistance to State Arts Agencies .........
 75
 Summary of Proposed State Projects for 1966-67 ...........
 

Appendices 77
 

Editorial Comment on the National Endowment for the Arts ..............
 80
 

Publications Available From the National Endowment for the Arts .......
 81
 

Studies Initiated By the National Endowment for the Arts in 1966 ......
 

National Endowment for the Arts
 82
 

Staff ....................................................
 86
 

Activities ...............................................
 89
 

Program and Grant Evaluation Procedure ...................
 

Lists of Individual Grantees
 91
 

Teaching Artists .........................................
 95
 

Choreographers ...........................................
 96
 

Graduation Awards ........................................
 102
 

Financial Report for Fiscal Year 1966 .................................
 

National Foundation on the Arts and the Humanities Organization Chart 103
 
THE CHAIRMAN’S STATEMENT
 

Our mandate is clear. The 89th Congress, by a large majority,
 

directed the National Endowment for the Arts"to develop and
 

.promote a broadly conceived national policy of support for...the
 

arts in the United States." President Johnson said: "Government
 

can seek to create hondltions under which the arts can flourish
 

through recognition of achievements, through helping those who
 

seek to enlarge creative understanding, through increasing the
 

access o~ our people to the works of our artists, and through
 

recognizing the arts as part of the pursuit of American greatness."
 

Initial programs developed by the National Council on the Arts
 

have been designed to:
 

-- Stimulate enjoyment and appreciation of the arts’by
 

creating the widest possible audience for arts activities of substantial artistic and cultural signiflcamce, o
 

-- Encourage and assist individual performing, creative and
 

visual artists to achieve standards of professional
 

excellence.
 

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-- Develop and expand the capacity o~ independent arts
 

institutions and organizations for imaginative and
 

substantive programs.
 

-- Explore the problems of the arts in America in order
 

to develop new programs and institutions to meet
 

existing and future needs.
 

-- Encourage imaginative arts programs in the field of
 

education.
 

-- Support international arts events which relate to
 

the advancement of the arts in the United States.
 

In its first fiscal year, covering nine months from enactment of
 

the enabling legislation, the National Endowment for the Arts has
 

initiated experimental projects to determine the feasibility of
 

innovative programs in the arts. It has encouraged individuals
 

and organizations to assume the responsibility for cultural
 

progress. It has developed a program in which Federal, State and
 

local governments are cooperating to broaden opportunities for
 

artists and audiences. It has sought to stimulate new sources of
 

funds and services for the arts. It has attempted to meet the
 

needs and to foster an appreciation of the individual creative
 

artist in America today, and it has made comprehensive plans
 

for the future.
 

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It should also be pointed out that the Endowment is cooperating
 

in every way possible with the National Endowment for the
 

Humanities, the twin partner in the new Foundation. We are
 

constantly exchanging information with each other. We participate in each other’s Counoil meetings. The two Endowment staffs
 

maintain a close liaison, so tha= progress in the arts and
 

humanities can be mutually beneflclalwi=h respect to the
 

important cultural areas set forth in our enabling legislation.
 

Roger L. Stevens
 

- 3­
A BROAD CONGRESSIONAL MANDATE
 

Public L~a 89-209 established the Nationa! Foundation on the
 

Arts and the Humanities as an independent agency in the Executive
 

Branch of Government. The Act passed the 89th Congress, was
 

signed into law by President Johnson September 29, 1965, and was
 

designed "to develop and promote a broadly conceived national
 

policy of support for the humanities and the arts in the United
 

States."
 

The Act created aNational Endowment for the Arts to support
 

the development and growth of the arts throughout the United
 

States and to provide opportunities for wider appreciation
 

of the arts and the encouragement of excellence.
 

The Act transferred the National Council on the Arts, established
 

by the National Arts and Cultural Development Act of 1964 (Public
 

Law 88-579), from the Executive Office of the President to the
 

National Endowment for the Arts where it advises the Chairman on
 

policies, programs, and procedures and makes recommendations on
 

applications for financial assistance.
 

- 4­
--

In the Act’s Declaration of Purpose the Congress stated:
 

-- that the encouragement and support of national progress
 

and scholarship in the humanities and the arts, while
 

primarily a matter for private and local initiative, is
 

also an appropriate matter of concern to the Federal
 

Government;
 

-- that a high civilization must not limit its efforts to
 

science and technology alone but must give full value
 

and support to the other great branches of man’s
 

scholarly and cultural activity;
 

that democracy demands wisdom and vision in its citizens
 

and that it must therefore foster and support a form of
 

education designed to make men masters of their technology
 

and not its unthinking servant;
 

-- that i{ is necessary and appropriate for the Federal
 

Government to complement, assist, and add to programs
 

for the advancement of the humanities and the arts by
 

local, State, regional, and private agencies and their
 

organizations;
 

-- that the.practice of art and the study of the humanities
 

requires constant dedication and devotion and that, while
 

no government can call a great artist or scholar into
 

existence, it is necessary and appropriate for the
 

Federal Government to help create and sustain not only a
 

climate encouraging freedom of thought, imagination, and
 

inquiry but also the material conditions facilitating
 

the release of this creative talent;
 

-- that the world leadership which has come to the United
 

States cannot rest solely upon superior power, wealth,
 

and technology, but must be solidly founded upon worldwide respect and admiration for the Nation’s high
 

qualities as a leader in the realm of ideas and of the
 

spirit; and
 

-- that, in order to implement these findings, it is
 

desirable to establish a National Foundation on the
 

Arts and the Humanities and to strengthen the responsibilities of the Office of Education with respect to
 

education in the arts and the humanities.
 

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Public Law 89-209 authorized the following appropriations:
 

-- $i0 million annually to be divided equally between the
 

National Endowment for the Arts and the National Endowment for the Humanities in fiscal 1966, 1967, and 1968.
 

-- $2.25 million annually to the National Endowment for
 

the Arts and $5 million annually to the National Endowment for the Humanities to match unrestricted donations
 

made to the Endowments.
 

-- $2.75 million annually to the National Endowment for
 

the Arts for state arts agency programs, subject to
 

matching provisions, effective in fiscal 1967.
 

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o o 

o 0
 

0
 

0 o 

o 

Z 

0
 

- 7 ­
THE UNRESTRICTED GIFT FUND
 

The National Foundation on the Arts and the Humanities Act of 1965
 

authorizes $2.25 million to match unrestricted donations to the
 

National Endowment for the Arts in fiscal 1966-68. Congress appropriatgd an amount not to exceed $2 million to the fund to be
 

determined by the amount of unrestricted gifts received. Federal
 

funds to match unrestricted gifts are maintained in a separate U.S.
 

Treasury Department account and are appropriated independently of
 

other Endowment funds.
 

The matching fund provision permits the National Endowment for the
 

Arts to make four times the amount of an unrestricted donation available to artists or arts programming. One dollar in an unrestricted
 

gift is matched by one federal dollar and these two dollars must be
 

matched again if a grant is made to a group.
 

In fiscal 1966, the Endowment received unrestricted gifts totalling
 

$34,308 making $68,616 available for program activities.
 

Major donors were:
 

The Martin Foundation ($20,000). The Martin Foundation, Inc., 112
 

West 34th Street, New York City, pledged $I00,000 to the National
 

Endowment for the Arts in $20,000 annual contributions over a 5-year
 

- 8­
period. The initial donation made in fiscal 1966 was the first unrestricted gift received by the Endowment.
 

Cue Masazine and the ~erican Society of Composers~ Authors and Publishers ($12,500). The National Endowment for the Arts received all
 

profits from "A Salute to ASCAP," a May I, 1966 performange at Lincoln
 

Center’s Philharmonic Hall, sponsored by Cue Ma~azlne in honor of
 

America’s top composers, and starring Harold Arlen, Hoagy Carmichael,
 

Cy Coleman, Ray Henderson, Sammy Cahn, Burton Lane, Jimmy McHugh,
 

Arthur Schwartz, Jule Styne, James Van Heusen, and Harry Warren.
 

Five ASCAP composers waived their fees for the evening. Abe Burrows
 

acted as master of ceremonies and Dinah Shore, Tony Bennett, Leslie
 

Uggams, Jack Cassidy, Johnny Desmond, Sheila MacRae, and Joan Diener
 

appeared as guest artists.
 

The program stated: "This pioneering organization (National Endowment
 

for the Arts) marks a gigantic step forward in federal aid to American
 

artists, and Cu____~e is proud to be the first member of the communications
 

industry to give monies to the National Foundation. Roger L. Stevens,
 

President Johnson’s Advisor on the Arts, was onstage to thank everybody present that evening. Cu.~e fervently hopes that others will follow
 

its modest lead."
 

- 9­
SCOPE AND EXPOSURE OF INITIAL NATIONAL ENDOWMENT FOR THE ARTS PROGRAMS
 

The National Endowment for the Arts is creating new opportunities for
 

artists, designing innovative projects in the arts, expanding and
 

developing audiences, and enabling existing organizations to broaden
 

arts programs. During its first year of operation the Endowment has:
 

-- Assisted ~rtists by enabling
 

50 novelists, poets, painters, sculptors and composers
 

teaching in institutions of higher learning to take one-


year leaves to pursue creative work in the arts.
 

77 promising young students in the arts who graduated
 

from college in June 1966 to visit art centers, museums,
 

institutions, cities or other areas of the United States
 

in order to broaden their cultural experience.
 

Eight choreographers to create and produce important works.
 

Composers to defray the costs of copying scores and parts
 

of orchestral presentation of their work.
 

Playwrights to secure public performances of high professional
 

quality in resident professional and university theatres.
 

-- Provided the stimulus for 50 States, the District of Columbia,
 

Puerto Rico, the Virgin Islands and Guam to survey their
 

cultural resources and develop progrsms, facilities and
 

services at the community level. Thirty-three States and
 

three jurisdictions have created official State arts agencies
 

~ince 1965 when the National Foundation on the Arts and the
 

Humanities was established.
 

-- Initiated imaginative new programs which will create an
 

annual Literary Anthology and low-rent studio living quarters
 

for artists, and will extend metropolitan museum facilities
 

to smaller communities.
 

- i0 ­
--

--

--

--

--

--

--

--

-- Strenghtened existing arts organizations by planning for the
 

Wisconsin Idea Theatre to explore methods of bringing arts
 

activities to small rural communities, and developing
 

technical assistance programs for the American Symphony
 

Orchestra League, the American National Theatre and Academy,
 

and the american "Educational Theatre Association.
 

Launched studies to explore the feasibility and techniques
 

of establishing an American Film Institute, an Institute
 

of Architecture, Planning and Design, and an Association
 

of American Dance Companies.
 

Opened new opportunites for arts programming on educational
 

television by assigning priority to the use of funds’from
 

~nrestricted gifts to the National Endowment for the Arts to
 

projects enabling educational stations throughout the country
 

to provide additional programming in arts fields.
 

Programs which the National Council on the Arts is planning will
 

permit
 

Creation of an American Lyric Theatre Workshop, a National
 

Chamber Orchestra and regional opera in the southeast of
 

the United States.
 

-- Novelists, poets and journalists to conduct research or
 

complete works in progress.
 

Young musicians to participate as soloists in national
 

tours, under conditions similar to those applying to
 

established leading performers.
 

Painters and sculptors to create new prints for distribution
 

in portfolios of the highest quality to high schools, libraries
 

and educational institutions.
 

Awards to painters and sculptors in recognition of past
 

contributions and to encourage future efforts.
 

Resident professional theatre companies to enhance the
 

artistic quality of their productions.
 

Increased artistic exchange between Latin America and the
 

United States, especially in the field of creative writing
 

and its advancement in the United States.
 

-- Development of a new system of music education for elementary
 

and secondary schools throughout the country.
 

- ii­
 

--

--

-- Encouraged the expansion and development of audiences by enabling
 

The Martha Graham Dance Company to make its first national
 

tour in 15 years in the fall of 1966. The tour will give
 

people in 32 cities with a total population of 16.7 million
 

the opportunity to see an internationally acclaimed leading
 

exponent of the modern dance.
 

The American Ballet Theatre to embark upon nationwide tours
 

in the fall of 1966 and the spring of 1967. The tours will
 

give people in 50 cities with a total population of 13.7
 

million the opportunity to viewone of the nation’s two
 

existing full-scale dance companies. .
 

The New York Shakespeare Festival to broaden its educational
 

programs, particularly directed toward the developing of
 

young audiences in disadvantaged areas and their appreciation
 

of excellence in the theatre.
 

-- Stimulated young audiences by enabling
 

Laboratory Theatre Companies in ProVidence and New Orleans
 

to give free performances to student audiences, play to the
 

general public at reasonable rates, and develop techniques
 

to improve the instruction of dramatic literature in
 

secondary schools. More than 90,000 children in the two
 

cities will have the opportunity to attend performances.
 

The Academy of American Poets to send young poets into
 

hundreds of New York, Detroit and pittsburgh public school
 

classrooms to read and discuss their own poetry and to
 

permit high school English teachers to attend lectures
 

and readings by outstanding American poets.
 

The National Repertory Theatre to expand its audience
 

subscription program and broaden its student educational
 

programs. People in 19 cities with a total population
 

of 12.7 million will have the opportunity to attend the
 

leading repertory company’s performances.
 

Permitted continuing operation of the American Ballet Theatre
 

by responding to a request for an emergency matching grant.
 

Supported the first international conference held in the
 

United States by American P.E.N. (Poets, Playwrights,
 

Essayists, and Novelists) which was attended by more than
 

450 writers from foreign countries.
 

- 12­
--

--

THE NATIONAL ENDOWMENT FOR THE ARTS
 

Purpose and Activities
 

The Endowment establishes and implements a program of grants-inaid to state arts agencies, non-profit, tax~exempt groups, and
 

individuals to promote progress in the arts, which are defined
 

to include instrumental and vocal’music, dance, drama, folk art,
 

creative writing, architecture and allied fields, painting,
 

sculpture, photography, graphic and craft arts, industrial design,
 

costume and fashion design, motion pictures, television, radio,
 

tape and sound recording, and the arts related to the presentation,
 

performance, execution, and exhibition of such major art forms.
 

Grants are made to:
 

-- provide or support in the United States productions which have
 

substantial artistic and cultural significance, giving emphasis
 

to American creativity and the maintenance and encouragement of
 

professional excellence.
 

-- encourage productions, meeting professional standards or standards of authenticity, irrespective of origin which are of
 

significant merit which, without such assistance, would otherwise be unavailable to our citizens in many areas of the country.
 

aid projects that will encourage and assist artists and enable
 

them to achieve standards of professional excellence.
 

stimulate workshops that will encourage and develop the
 

appreciation and enjoyment of the arts by our citizens.
 

-- initiate surveys, research, and planning in the arts.
 

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THE NATIONAL COUNCIL ON THE ARTS
 

Purpose and Activities
 

The Council is composed of the Chairman of the National Endowment
 

for the Arts, who serves as Chairman of the Council, and 26
 

private citizens, widely recognized for their training, experience
 

and interest in the arts, appointed by the President. The Council,
 

which is required to meet at least twice a year, met three times in
 

fiscal 1966. Its responsibilities are to:
 

-- advise the Chairman of the National Endowment for the Arts
 

on policies, programs and procedures.
 

-- review appligations for financial assistance.
 

-- recommend ways to maintain and increase cultural resources
 

in the United States.
 

-- propose methods of encouraging private initiative in the arts.
 

-- advise and consult with local, state and federal departments
 

and agencies on methods of coordinating existing resources
 

and facilities and fostering artistic and cultural endeavors
 

and the use of the arts, both nationally and internationally,
 

in the best interests of our country.
 

-- study and recommend ways to promote the arts in order to
 

stimulate the nation’s artistic and cultural progress.
 

- 14 ­
Members
 

With terms expiring in
 Agnes de Mille
 September, 1966
 

Choreographer, Author, Lecturer
 

Ralph Ellison .... ~
 

Author, Lecturer, Teacher
 

Gilbert Hartke, O.P.
 

Head, Speech and Drama D~partment,
 

Catholic University of America
 

Eleanor Lambert
 

Honorary Member,
 

Council of Fashion Designers
 

of America
 

Gregory Peck
 

Motion Picture Actor and Producer
 

Elizabeth Ashley Peppard
 

Actress
 

Otto Wittmann
 

Director,
 

Toledo Museum of Art
 

~Stanley Young
 

uthor and Publisher


~


With terms expiring in 1968 Leonard Berns rein
 

Composer and Conductor;
 

Music Director, New York Philharmonic
 

Anthony A. Bliss
 

President,
 

Metropolitan Opera. Asspciati0nHerman David Kenin
 

International President,.
 

American Federation of Musicians
 

- 15­
i’War~er Lawson
 

Dean of the College of Fine Arts,
 

~William L. Pereira and Associates
 

Richard Rodgers
 

President and Producing Director,
 

The Music Theatre of Lincoln Center
 

John Steinbeck ~
 

Author
 

1. ̄~’~ames Johnson Sweeney
 

Director,
 

Houston Museum of Fine Arts
 

With terms expiring in 1970
 

Albert Bush-Brown
 

President,
 

Rhode Island School of Design
 

Rene d’Harnoncourt
 

Director,
 

Museum of Modern Art
 

Paul Engle
 

Director, Program in Creative WritinB,
 

University of Iowa
 

R. Philip Hanes, Jr.
 

Industrialist
 

Oliver Smith
 

Theatrical Producer and Designer;
 

Painter ..........
 

Isaac Stern
 

Concert Violinist
 

George Stevens, Sr.
 

Motion Picture Director and Producer
 

Minoru Yamasaki, FAIA
 

Minoru Yamasaki and Associates 

- 16­
With terms expiring in 1972
 

Richard C. Diebenkorn, Jr.
 

Painter .....
 

Harper Lee
 

.. Author
 

June 16, 1965 President Johnson appointed Herman David Kenin to
 

fill the vacancy created by the death of sculptor David Smith
 

on May 23, 1965. April 27, 1966 John ~teinbeck was appointed
 

to fill the vacancy created by the resignation o£ NBC News
 

Comentator David Brinkley. Richard C. Diebenkorn, Jr. and
 

Harper Lee were appointed to the Council on January 27, 1966
 

to fill the two vacancies created when the National Foundation
 

on the Arts and the Humanities Act of 1965 increased membership
 

on the Council from twenty-four to twenty-six.
 

Comittees 

Nominating Committee James Johnson Sweeney, Chairman 

Ralph Ellison 

Paul Engle 

Executive Commi tree Stanley Young, Chairman 

Anthony Bliss 

Rene d’Harnoncourt 

Herman David Kenin 

Gregory Peck 

William Pereira 

Isaac Stern 

Film Committee George Stevens, Sr., Chairman 

Gregory Peck 

Elizabeth Ashley Peppard 

William Pereira 

Liaison Committee David Brinkley, Chairman 

Albert Bush-Br~wn 

R. Philip Hanes, Jr. 

- 17­
Planning Co=mittee
 

Committee on Theatre
 

Committee on Museums
 

Committee on Creative Writing
 

Committee on Architecture,
 

Planning and Design
 

Committee on Education
 

Master Teachers Program
 

Committee
 

Richard Rodgers, Chairman
 

Leonard Bernstein
 

Eleanor Lambert
 

Elizabeth Ashley Peppard
 

Oliver Smith
 

Minoru Yamasaki
 

Gregory Peck
 

Elizabeth Ashley Peppard
 

George Stevens, Sr.
 

Stanley Young
 

Rene d’Harnoncourt
 

James Johnson Sweeney
 

Otto Wittmann
 

Ralph Ellison
 

Harper Lee
 

Stanley Young
 

Albert Bush-Brown
 

William Perelra
 

Minoru Yamasaki
 

Agnes de Mille
 

Gilbert Hartke
 

Warner Lawson
 

George Stevens, St.
 

Otto Wittmann
 

Albert Bush-Brown
 

William Pereira
 

Isaac Stern
 

Minoru Yamasaki
 

"This great Nation...is looking to this handful of extremely
 

talented individuals, looking to you as the representatives
 

of all fields of the arts, for ways in which the Government
 

can maintain and can strengthen an atmosphere which will
 

permit the arts to flourish and to become part of everyone’s
 

life." (President Johnson, at Swearing-In Ceremony of the
 

National Council on the Arts, April 9, 1965)
 

- 18­
Meetings
 

Fifth Meeting May 13-15, 1966 ~arrytown, New York 

Fourth Meeting February 12-13, 1966 Washington, D.C. 

Third Meeting November 12-15, 1965 Tarrytown, New York 

Second Meeting June 24-27, 1965 Tarrytown, New York 

The first meeting of the National Council on the Arts was held in
 

Washington, D.C. on April 9 and I0, 1965. It was preceded by a
 

12:15 P.M. ceremony in the Cabinet Room of the White House, April 9,
 

during which the members of the Council took the oath of office.
 

Observers
 

To enable the Council to draw upon the expertise of authorities and
 

to give arts specialists the opportunity to participate in the Council’s deliberations, the following observers are among those who attended Council meetings:
 

Nigel J. Abercrombie, Secretary General, British Arts Council
 

Kathryn Bloom, Director, Arts and Humanities Branch, U.S. Office
 

of Education
 

Lucas Foss, Musical Director, Buffalo Philharmonic Orchestra
 

August Heckscher, Director, Twentieth Century Fund
 

- 19­
George Kennan, Director, National Institute of Arts and Letters
 

Francis Keppel, Co,~nissioner, U.S. Office of Education (resigned I/5/66)
 

Morris Ketchum, Jr., Fellow, American Ins~i=ute of Architects
 

Fred Lazarus III, President, Shellitos Department Store, Cincinnati
 

McNeil Lowry, Vice President, Ford Foundation
 

Harry McPherson, Special Counsel to the President; formerly Assistant
 

Secretary of State for Educational and Cultural Affairs
 

Yehudi Menuhin, Violinist
 

Dr. Henry Allen Moe, Chairman, National Endowment for the Humanities
 

(March 3, 1966 - June 30, 1966)
 

Robert Motherwell, Painter
 

Dr. S. Dillon Ripley, Secretary, Smithsonian Institution
 

Mark Schubart, Executive Director, Lincoln Center Fund and Lincoln
 

Center Educational Programs
 

Dr. David Scott, Director, National Collection of Fine Arts
 

Theodore Taylor, Assistant to the Secretary, Smithsonian Institution
 

John F. White, President, National Educational Television
 

Karel Yasko, Assistant Commissioner for Design, Public Works Services,
 

General Services Administration
 

- 20­
Deans of Schools of Fine Arts attending meetings were:
 

Fifth Meeting	 Dean Jules Heller
 

College of Arts and Architecture
 

Penn State University
 

Dean Edwin Stein
 

School of Fine and Applied Arts
 

Boston University
 

Dean Gibson Danes
 Fourth Mee =ing 

School of Art and Architecture 

Yale University 

Dean Robert Hull
 

College of Fine Arts
 

University of Arizona
 

Dean Clinton Adams.
 Third Meeting
 College of Fine Arts
 

University of New Mexico
 

Dean E.W. Dory
 

College of Fine Arts
 

The University of Texas
 

Dean Norman Rice
 

College of Fine Arts
 

Carnegie Institute of Technology
 

- 21­
PROGRAM ACTIVITIES OF THENATIONAL ENDOWMENT FOR THE ARTS
 

and
 

THE NATIONAL COUNCIL ON THE ARTS
 

- 22­
ARCHITECTURE
 

National Institute of Architecturet Planninq and Design
 

The National Council on the Arts is studying the organization, structure and functions of a proposed National
 

Institute of Architecture, Planning and Design.
 

The Institute is envisioned as an independent facility
 

which will serve citizens, cities and States in their
 

search for higher quality in the physical environment.
 

It is anticipated that the Institute will involve leiding
 

architects0 planners and designers, as well as mayors,
 

planning commissioners, governors, industrialists0 educators, public officials, and private citizens, in programs
 

to enhance all pertinent aspects of the arts of architecture,
 

planning, landscape architecture, and design as they relate
 

to the environment.
 

A study will determine the form and objectives of the
 

Institute by investigating, classifying, and evaluating
 

- 23 ­
the vast number of activities influencing environmental
 

design which have been developed by individuals, federal,
 

state and local governments~ foundations and associations,
 

corporations, labor unions and mass media.
 

The study~ which has been designed to produce a feasible
 

proposal for the Institute, will outline proposed operational objectives which can be implemented by specific
 

programs, and the organization, structure and funding of
 

related existing institutions in the United States and
 

abroad o
 

In conjunction with the establishment of the Institute, the
 

Council is developing a program of pilot projects which
 

will support basic research in all phases of design
 

improving the quality of physical America. The Council is
 

planning a series of grants for research and demonstration
 

projects which may influence the scope and activities of
 

the Institute.
 

- 24 ­
Such pilot projects might support:
 

-- research on the improved design of urban street
 

furnishings such as electric lighting fixtures,
 

signs, or park benches.
 

-- improved design of community facilities in new
 

suburban centers.
 

-- improved design in a newly developing recreation
 

area.
 

-- improved design in arts facilities for residential
 

neighborhoods~ outlying towns and rural areas.
 

-- other prototype projects involving excellence in
 

design and its application to the improvement of
 

communities, large and small.
 

- 25 ­
THE ARTS AND EDUCATION
 

Laboratory Theatre Project
 

"The biggest theatrical angel this season isn’t
 

on Broadway -- but in Washington. He is Uncle
 

Sam, backing a.multipurpose test of drama in
 

education... Taking part, in a rare display of
 

agency togetherness, are the National Endowment
 

for the Arts, the United States office of Education and state and local boards of education...
 

It is the first time that two Federal units have
 

meshed efforts and case in the cause of culture...
 

As (Roger L.) Stevens describes the undertaking~
 

the National Endowment, about a year ago, envisaged exposing teenagers to performances by
 

first-class theatrical companies, thereby hopefully creating a future audience."
 

(Associated Press, September 18~ 1966, william
 

Glover)
 

In cooperation with the U. S. office of Education and state
 

and local school boards, the National Council on the Arts
 

committed funds to initiate an experimental "laboratory
 

theatre" project to provide two American cities with professional

theatre companies which will present outstanding theatre
 

perfo.rmances at no charge to secondary school children
 

during weekday afternoons and to adult audiences during
 

- 26­
weekend performances. This program is designed to develop
 

new audiences of all ages, and to improve the quality of
 

secondary school instruction in dramatic literature by
 

making live professional theatre productions of outstanding
 

quality an integral part of high school curricula.
 

It is expected that more than 40,000 secondary school
 

students from every part of Rhode Island will have the
 

opportunity to attend free performances of Providence’s
 

Trinity Square Repertory Company under the direction of
 

Adrian Hall and’John McQuiggan. The 1,000-seat theatre
 

will house productions of Chekov’s "The Three Sisters,"
 

Shakespeare’s "A Midsummer Night’s Dream," Shaw’s "Saint
 

Joan" and O’Neill’s "Ah, Wilderness~"
 

It is expected that more than 50,000 secondary school
 

students from New Orleans and surrounding areas will be
 

exposed at no cost to the productions of the newly
 

created Repertory Theatre, New Orleans, under the artistic
 

direction of Stuart Vaughan. The company will’mount
 

Thomas’ "Charley’s Aunt," Shakespeare’s "Romeo and Juliet,"
 

- 27­
Wilder’s "Our Town" and Sheridan’s "The Rivals" in New
 

Orleans’ 1,500-seat Civic Theatre.
 

Because of the high quality of the productions and the
 

reasonable admission prices, it is anticipated that companies in both cities will enjoy large adult audiences
 

at the weekendperformances.
 

The reaction of theatre experts to the program:
 

"In a move that may alter and enrich the
 

nation’s theatrical landscape, the Federal
 

Government will become the principal angel
 

next fall for professional acting companies
 

here (Providence) and in New Orleans...Its
 

object will not be a share in the box-office
 

take or movie and television rights, but to
 

make living drama produced and played by experts an integral part of the high-school
 

curriculum."
 

(New York Times, July 21, 1966; Howard
 

Taubman)
 

"This is a historic week in which New
 

Orleans will experience U~ S. intervention
 

in culture. The friendly invasion will be
 

by way of the stage, a unique, federally-


instigated project getting under way as
 

Repertory Theatre, New Orleans... We welcome
 

a bit of cultural history to the city...and
 

we look forward with excitement to the start
 

of an experiment with national and local
 

potential." (New Orleans Times-Picayune,
 

November 13, 1966, Frank Gagnard)
 

- 28­
"If new theaters organized through a partnership of the Federa! Government and state, city
 

and school authorities and interested individuals, turn out to be an impressive wave of
 

the future, what will be the impact on Broadway?
 

Salutary in every way. A chain of soundly
 

financed, locally integrated and expertly run
 

theaters throughout the country can only be an
 

asset for everybody. They c~un teach an entire
 

new generation the wonder and stimulation of
 

the living stage. They can be a center for the
 

development of new creative and performing
 

talent. As they raise their own sights, they
 

are bound to improve the taste and independent
 

judgement of their audiences."


(New York Times, July 22, 1966, Howard Taubman}
 

Endowment funds committed to these projects for the two
 

cities during fiscal year 1966 total $330,000 - or
 

$165,000 each.
 

National Repertory Theatre
 

Because the National Repertory Theatre is the only major
 

professional theatre company which tours classical
 

productions throughout the country and includes a special
 

student program, the National Council on the Arts committed $75,000 on a matchin4 basis to expand the company’s
 

educational program.
 

- 29­
The funds will enable the National Repertory Theatre to
 

prepare special study guides to be sent in advance to
 

student audiences, and to augment and increase the student
 

program° (The fact that student attendance soared for the
 

St. Louis engagement and doubled over 1965 in Greensboro,
 

North Carolina, is indicative of the success of the pro-


New York Shakespeare Festival
 

The National Council on the Arts committed matchin~ funds
 

totaling $100,000 to support the New York Shakespeare
 

Festival’s program enabling thousands of New Yorkers,
 

especially young audiences, to attend free professional
 

 ̄ performances of the works of Shakespeare and other
 

classical authors.
 

The funds will permit the Festival’s mobile theatre units
 

to bring plays in Spanish and English to a large number
 

of communities throughout New York City. The convenience
 

and freedom from financial burden provided by the mobile
 

- 30 ­
units will expose a large number of people to theatre
 

which they might otherwise never have the opportunity to
 

experience.
 

"For Joseph Papp’s (New York Shakespeare
 

Festival) troupe, the situation is considerably different today -- thanks to its art,
 

the generosity of public and private contributors and -- most recently -- to a new
 

$i00,000 matching grant from the National
 

Council on the Arts... The timely federal
 

grants are a welcome beginning and a real
 

encouragement.
 

(New York Post editorial, September 3, 1966)
 

American Conservatory Theatre
 

Toward the close of the fiscal year, and from funds
 

currently unobligated at that time, the Endowment granted
 

$160,000 to the Carnegie Institute of Technology for the
 

benefit of A.C.T. under the artistic direction of William
 

Ball, and to support the organization’s apprentice training program and its educational activities in the theatre.
 

These funds, matching a Rockefeller grant, were administered by th9 Carnegie Institute. The grant enabled A.C.T.
 

to continue its valuable program during a time of financial
 

crisis. It can be reported that the American Conservatory
 

- 31­
Theatre has subsequently received substantial commitments
 

of support both in San Francisco and Chicago, thus demonstrating the Endowment’s timely assistance. (Note: The
 

funds, in this case, are applied to the Endowment’s continuing educational progr~n in both 1966 and 1967.)
 

Technical Assistance - American Educational Theatre
 

Association
 

The Nat’ional Council on the Arts has committed $7,000 to
 

the American Educational Theatre Association, Inc., to
 

conduct an extensive survey of secondary school theatre
 

throughout the country. The survey, under the auspices
 

of AETA’s Secondary School Theatre Conference, will meet
 

the growing demand for information on secondary school
 

theatre - the extent and caliber of productions, the type
 

of plays produced, facilities, equipment and budgets,
 

available classes in theatre and the training and experience of teachers and directors. Results of this survey
 

will be made available by AETA to Secondary School
 

Theatre Conference members and other interested individuals
 

and groups.
 

XXXXX
 

- 32­
The National Council on the Arts is also developing plans
 

for a Music Education project which will explore the
 

feasibility of bringing the Kodaly method of teaching
 

music by voice and relative pitch to students in elementary
 

and secondary schools throughout the country. The method,
 

originated by Zolton Kodaly in Hungary, has been internationally acclaimed for its benefits to music education.
 

- 33 ­
COSTUME AND FASHION DESIGN
 

~istorical Costume Exhibit
 

The National Endowment for the Arts approved a matching
 

grant of $25,000 to the Metropolitan Museum of Art in New
 

York City to provide a special exhibition in its Costume
 

Wing. The exhibit~ which will be open to the public in
 

April and May of 1967, will include i00 historical and 65
 

contemporary costumes reflecting the characteristics of
 

our environment. The Museum will also publish an
 

illustrated catalogue for the Costume Wing Library.
 

XXXXX
 

The National Council on the Arts is also developing plan~
 

for a Costume Design Program which will produce a film on
 

contemporary fashion design for teachers of textile and
 

costume design to be distributed to costume-designteaching schools and museums.
 
CREATIVE WRITING
 

Academy of American Poets
 

The National Endowment fox" the Arts provided matching funds
 

totaling $46,750~ to support the Academy of American Poets"
 

pilot projects in Detroit, Pittsburgh and New York. The
 

first phase of the project, ’IDialogues on the Art of
 

Poetry," is intended to stimulate teacher interest and
 

improve teaching methods by enabling high school instructors
 

to hear poetry readings by outstanding established American
 

poets. The second phase, "Poetry Readings in the Classrooms," brings younger, lesser known poets into high
 

school classrooms to read and discuss their own poetry
 

with the students, a unique and rewarding experience for
 

the poets as well as the children°
 

In New York, where the program is underway, 400 teachers
 

attended readings by such distinguished American poets as
 

Denise Levertov~ Robert Lowell, Howard Nemerov, Allen Tate
 

and Robert Penn Warren~ and iI~600 students responded
 

- 35 ­
enthusiastically to hearing and talking with young poets~
 

an unprecedented experience for most of them.
 

The program will be launched in Pittsburgh in the fall of
 

1966 and will begin in Detroit in the spring of 1967.
 

American P.E.N.
 

To support American participation in international arts
 

events, the National Endowment for the Arts made a matching
 

grant of $40,000 to enable American P.E.N. (Poets, Playwrights~ Essayists and Novelists) to assist them to host
 

the 34th International P.E.N~ Congress in New York City on
 

June 13-18~ 1966. Over 800 writers from all over the world
 

discussed, debated and exchanged ideas on "The Writer as
 

Independent Spirit," theme of the Congress.
 

It was the first time that the International P.E.N. Congress
 

was held in the United States~ and members from abroad were
 

able to obtain blanket visas under a new policy developed
 

by the State Department.
 

XXXXX
 

- 36 ­
Literary Antholoqy
 

To encourage and assist writers of merit and the editors
 

who publish their works,’ the National Council on the Arts
 

made plans to create a new annual Literary Anthology of
 

the best American poetry, fiction, essays and criticism.
 

Editors of the leading literary magazines in the country
 

will be invited to submit the works of three authors presented in their magazines the previous year. A distinguished
 

Literary Panel will select the works to appear in the
 

anthology from among those submitted. The authors represented will each receive $i,000; the editors who originally
 

printed their materials will each receive $500. Major
 

publishing firms in the United States will publish the
 

anthology on a rotating basis, and it is anticipated that
 

the first issue will appear in the summer of 1967.
 

XXXXX
 

The National Council on the Arts is also developing a program of Assistance t~o Individual Writer~, grants-in-aid of
 

- 37­
up tO $i0~000 each, which will enable outstanding poets,
 

novelists and journalists to complete works in progress or
 

undertake travel and research essential to their continuing
 

wo rk.
 

- 38­
DANCE
 

The. National Council on the Arts was guided in its deliberations on dance programs by a Special Advisory Panel on
 

Dance composed of 12 members representing the full spectrum
 

of dance expression across the nation. The Panel met in
 

all-day sessions on January 12 and on June 29, 1966~ to
 

review all requests for assistance received by the National
 

Endowment for the Arts from individual dancers and dance
 

org~izations, and to develop plans and programs to meet
 

existing and future needs in the field of dance.
 

American Ballet Theatre
 

In its first action, the National Endowment for the Arts
 

responded to an e~ergency grant request for $i00,000 from
 

the American Ballet Theatre which was in critical need of
 .I
 

immediate assistance. On Decembe~’20~ 1965, Vice
 ,;:
 

President Hubert Humphrey present the first check
 

issued by the Federal Government in direct support of the
 

arts to the President of a ballet theatre foundation,
 

- 39 ­
assuring the continued operation of one of the country’s
 

best existing full-scale dance companies.
 

The Council also committed additional funds, totaling
 

$250,000, to enable the company to make nationwide tours
 

in the fall of 1966 and the spring of 1967.
 

Critical acclaim applauded the Council’s action:
 

"The Treasury of the United States has saved
 

a national treasure. Not directly, perhaps,
 

but the taxpayers, through the government’s
 

recently established National Council on the
 

Arts, saved the American Ballet Theatre from
 

extinction."
 

(New York Herald Tribune, February 13, 1966,
 

dance editor Walter Terry)
 

"The American Ballet Theatre sweetly, effortlessly and most splendidly made sweet, effortless and splendid history at the New York State
 

Theatre Tuesday night. It opened its month’s
 

New York season before a star-studded, indeed
 

star-spangled audience, headed by Vice President
 

Humphrey, and with no pain at all became the
 

first American performing arts enterprise to
 

appear with the help of a Federal grant. For
 

this relief much thanks. May it be the first
 

of many enterprises so to benefit and may its
 

future be at last made as secure as money can
 

make it. "
 

(New York Time£, January 20, 1966, c~itic
 

Clive Barnes)
 
"With a story ballet, a modern work and an
 

exercise in technique, the American Ballet
 

Theatre showed a versatility that is beyond
 

the reach of all but the best companies.
 

They almost didn"t make it to Lincoln Center.
 

Then came the $I00,000 from the Arts Council.
 

President Johnson must be rated a strong contender for the balletomane’s voice in ’68."
 

(Ne__w Yor____kk World Teleqram and Su~, January 19~
 

1966, critic Leonard Harris)
 

"American Ballet Theatreas three programs in
 

the Opera House spotlighted again the wealth
 

of th@ company... Ballet Theatre has a corner
 

on the creative output of scores of artists...
 

As for dancers -- Ballet Theatre has a great
 

assemblage -- from brilliant stars tb
 

promising neophytes, including the best
 

collection of male dancers this side of the
 

Bolshoi. They all dance with the warmth that
 

is the company trademark."
 

(Chicago. Tribun@, March 28, 1966, critic Ann
 

Barzel)
 

"The country’s first major artistic program
 

backed by Federal money has begun a four-week
 

season at the New York State Theatre at Lincoln
 

Center... This is a group of five-dozen dancers,
 

and there doesn’t seem to be one "of them who
 

isn’t capable of doing just about everything
 

and doing it well... The American Ballet Theatre
 

company seems to have something for all tastes...
 

the season promises to be a treat for balletomanes. " ’
 

(Wal! Street Journalo January 20, 1966, critic
 

Richard P. Cooke)
 

- 41 ­
Individual Grants to Choreoqraphers
 

In keeping with its policy of making direct assistance
 

available to outstanding artists, the National Endowment
 

for the Arts made individual grants, totaling $~03~000,
 

to eight leadinglAmerican choreo raphers. The grants,
 

which reflected the Council’s recognition of the
 

choreographers’ contribution to the artistic life of the
 

country and the ~inancially precarious existence of their
 

companies~ were ~elsigned to enable the artists to create
 

new works and prepare outstanding repertory works for
 

performance. The ifunds were used to pay the salaries of
 

dancers in the dompanies, the musicians involved, and to 

increase rehearsal time.
 

Recipients of the grants were:
 

Alvin Ailey
 

Merce Cunningham
 

Martha Graham
 

Jose Limon
 

Alwin Nikolais
 

Anna Sokolow
 

Paul Taylor
 

Antony Tudor
 

- 42 ­
The artistic quality of the choreographers and their
 

companies has been attested to by critics:
 

"Merce Cunninqham’s choreography is one with
 

music and decoration. The surprising thing is
 

how well it has emerged in its classical...form.
 

It has always been obvious that Mr. Cunningham
 

enjoyed some kind of suspicious blood brotherhood with classic ballet...(and) the effect of
 

this classic ballet and its modern-dance.
 

predecessor is identical -- which ought to
 

prove something -- if only that Mr. Cunningham
 

is one of the most inspired and gifted
 

choreographers of our day, whatever the
 

denomination."
 

(New York Times, April 16, 1966, critic Clive
 

Barnes)
 

"Jose Limon is a dancer a little above average
 

in height and of quite remarkable creative
 

stature. He shakes like trees the big,
 

rebellious questions in his life, and finds
 

choreography his best hope of answering them.
 

Dance is for him, in fact, a means of survival."
 

(Christian Science Monitor, February i0, 1966,
 

critic Louis Chapin)
 

"If you are not a modern dance fan, (the)...
 

moving work of Anna Sokolow may spark your
 

interest. If you are...your appreciation
 

will be deepened by Miss Sokolow’s beautiful
 

choreography."
 

(Washington Star, April 25, 1966, critic
 

Joyce Warren)
 

- 43 ­
"Paul Taylor and his Dance Company...got the
 

season off to its flying start... The program,
 

as it was~ clearly demonstrated why the Taylor
 

company is among the best hereabouts. As a
 

pure ensemble they have few equals in
 

virtuosity anywhere, either classic or modern.
 

Moreover, Mr. Taylor’s fascinating convoluted
 

choreography, and his equ~lly convoluted sense
 

of poetic metaphor~ give his dances golden
 

opportunities..."
 

(New York Times., November0 1966~ critic Clive
 

Barnes)
 

"Antony Tudor...long a major figure on the
 

American ballet landscape, received a standing
 

ovation Sunday night at the Metropolitan Opera
 

House... The unmistakable hit of the. evening
 

was (Mr. Taylor’s) "Echoing of Trumpets," for
 

this was the work which had the audience,
 

filling the old house to capacity, hushed and
 

 ̄ intent during its course and cheering at its
 

conclusion. This represented more than the
 

success of a new ballet. It signaled the return of Tudor...to a position of distinction
 

once again."
 

(New York Herald Tribune., March 29, 1966,
 

critic Walter Terry)
 

Technical A~sistance - Conference of American Dance
 

Companie~
 

The National Endowment for the Arts made a technical
 

assistance grant of $5,000 for the development of
 

a national dance association and planned future
 

support in this area. The funds were used for
 

a National Dance Conference at which 172 delegates
 

from 24 States, the District’ of columbia and
 
Canada worked out the structure and function of a national
 

dance service organization. The Association of American
 

Dance Companies, created at the Conference, will act as
 

"a coordinating educational and service organization to
 

promote and encourage .the knowledge, appreciation and
 

practice of dance, exclusively through performing and educational activities."
 

The Conference, held June i, 2, and 3, 1966 in New York
 

City, was co-sponso;ed by the Endowment, the North American
 

Ballet Association, the American Guild for Musical Artists
 

and the National Regional Ballet Association, and was
 

addressed by Martha Graham and Sol Hurok.
 

The following officers were elected to the Association:
 

President:	 William Habich, President, National
 

Regional Ballet Association; Director,
 

Louisville Civic Ballet Company.
 

Vice-Presidents: Alvin Reiss, Editor and
 

Publisher Arts Management;
 

Charles L. Reinhart, Manager,
 

Paul Taylor Company; Byron R..
 

Kelley, Rebekah Harkness
 

Foundation.
 

- 45 ­
Isabelle Fisher, Consultant on
 Secretary:
 Dance Promotion and Management.
 

Treasurer:
 Ben Sommers, President, Capezio, Inc.


In addition to the officers, the Executive Committee of the
 

Association includes:
 

Dorothy Alexander, Founder and Advisor,
 

Atlanta civic Ballet.
 

Isadora Bennett, Publicist.
 

Alexander Ewing, President, Foundation
 

for American Dance.
 

Doris Hering~ Associate Editor~ Dance
 

Magazine.
 

P~ W. Manchester, Associate Editor, Danc______ee
 

New___~s.
 

Alwin Nikolais, Director-Choreographer,
 

Alwin Nikolais Dance Company
 

A grant of $5,000 was also approved to support the
 

Capitol Ballet Guild of Washington, D. C., during
 

its 1966 season.
 

- 46 ­
Martha Graham National Tour
 

The National Endowment for the Arts made $142,250 available
 

on a matching basis to enable the Martha Graham Dance Company
 

to make its first national tour in 15 years. Although Miss
 

Graham has been internationally acclaimed as the founder
 

and leading exponent of modern dance, millions of Americans
 

had never had the opportunity to experience performances
 

by her outstanding company which has been financially
 

unable to tour the United States.
 

During the eight-week tour in the fall of 1966, audiences
 

and critics in 32 cities applauded the company’s excellence:
 

"Footnotes to dance history were being written
 

this afternoon at the Bushnel! Memorial Hall
 

here (Hartford, Connecticut). Martha Graham
 

and her dance company gave the opening
 

performance of their national tour... The tour
 

could hardly have got under way better... The
 

company looked in peak performing condition."
 

(New York Times, October 3, 1966, critic Clive
 

Barnes)
 

- 47 ­
"Martha Graham and her magnificent dance
 

company won a standing ovation at their
 

first performance in this area last night
 

at Tawes Auditorium at the University of
 

Maryland... Miss Graham’s theatre is rich,
 

strange, sensual and thoroughly compelling.
 

Her themes can be light or witty, but her
 

effect is always penetrating."
 

(Washi.nqton Post, October 7, 1966, critic
 

Jean Battey)
 

"Something remarkable has happened in dance
 

across the country. It is called the Martha
 

Graham Dance Company, now on its first national
 

tour in many, many years... During this tour,
 

now past its midway point, the Graham troupe
 

has been playing to full, enthusiastic houses.
 

Almost everywhere people have been turned away
 

at the box office."
 

(New York Time~, November 24, 1966, critic
 

Clive Barnes)
 
DRAMA
 

Technical Assistance - American National Theatre and Academy
 

The National Endowment fo@ the Arts made a matching grant
 

of $30,000 to The American National Theatre and Academy to
 

augment its program of sp4cial services for hew and established non-profit theatres throughout the United States.
 

The grant enabled ANTA to open regional offices at the
 

University of Arizona in Tucson under the direction of
 

Robert Keyworth and at Florida Atlantic University in Boca
 

Raton under the direction of Harold Burris-Myer. These
 

offices will offer information, employment services and
 

the advice of staff specialists to theatre groups in the
 

western and southern regions of the country.
 

Playwrightls Experimental Theatre
 

To give outstanding new American plays a forum for exposure
 

and appreciation, the National Council on the Arts committed
 

$175,000 to a program to secure public presentation of
 

- 49 ­
these works by university and resident professional
 

theatres.
 

It is expected that grants under this program will be
 

announced after recommendation by advisory panels°
 

XXXXX
 

The National Council on the Arts is also developing plans
 

which will provide an extensive program of support for
 

resident professional theatres which will enable the
 

groups to further develop their artistic quality by
 

providing attractive salaries for their permanent members
 

and hiring outstanding guest directors and performers.
 
FOLK ART
 

The National Council on the Arts is developing plans to
 

preserve and promulgate arts indigenous to the United
 

States. The Council is discussing programs which will
 

support an annual national folk festival, encourage regional festivals, and provide a central clearinghouse for
 

information on folk arts which can study, collect and
 

publish data on the origin of various forms of American
 

folklore~
 

- 51­
MUSIC
 

Technical Assistance - American Symphony Orchestra Leaque
 

In recognitiQn of the problem of the great shortage of
 

trained administrative personnel for music organizations,
 

the National Endowment for the Arts made a matching grant
 

of $33,575 to the American Symphony Orchestra League to
 

enable it to conduct two training seminars in orchestra
 

management  ̄
 

The first of the seminars for orchestra managers and other
 

orchestra operational personnel was held during the first
 

week of July in Pacific Grove, California, and the second
 

will take place in the summer of 1967.
 

Composers Assistance Proqram
 

In keeping with its overall concern with the problems of
 

creative artists, the National Council on the Arts has
 

committed funds totaling $150,000 to a program of assistance to composers. It is anticipated that up to I00
 

- 52­
composers and orchestras will benefit from the program’
 

which provides two types of assistance:
 

i.	 Assistance to Orchestras for Commissioning
 

of New Works (Up to 25 grants-in-aid
 

averaging $2,000 each)
 

To encourage commissioning of orchestral
 

compositions, the Endowment will supply up
 

to fifty percent of the commissioning fee
 

to be paid to a composer by an orchestra.
 

Individual Copying Grants (Up to 50
 

grants-in-aid averaging $2,000 each)
 

The program further assists the composer
 

with its provision for individual copying
 

grants. Under this program a composer
 

who is guaranteed a performance of his
 

work by an orchestra may apply for financial assistance in copying the score and
 

parts of his work prior to its presentation, a process which involves considerable
 

personal expense for a composer. Financial
 

help for a composer in this respect is
 

among his most urgent needs.
 

- 53­
The American Symphony Orchestra League will certify the
 

eligibility of orchestras which apply for assistance, and
 

will handle promotional aspects of the program.
 

The American Music Center will verify the estimated costs
 

involved in the copying of each work.
 

XXXXX
 

The National Council on the Arts is also developing plans
 

which will:
 

-- create a National Chamber Orchestra to .give
 

musicians the opportunity to devote full time
 

to the study and performance of a wide range


of chamber literature, and serve as a training
 

institution as well as a performing group.
 

-- give young musicians every opportunity to develop their skills as recitalists by enabling
 

them to perform, in extended tours in the united
 

States.
 

-- develop a regional opera program to include
 

-studio activities, full-scale presentations,
 

and well-presented local opera. Opera, combining a variety of art forms, is the most
 

costly of the arts to produce. The Council
 

plans to support prototype projects which will
 

bring opera to much wider audiences than has
 

heretofore been possible.
 

- 54 ­
PUBLIC MEDIA
 

American Film Institute
 

The National Council on the Arts is developing a pl~n to
 

establish an American Film Institute similar to the organizations benefitting many other nations. This plan involves
 

the creation of an entirely new national arts institution
 

capable of enhancing the art of film-making throughout
 

the United States. President Johnson endorsed the proposal
 

at the signing ceremonies of the National Foundation on the
 

Arts and the Humanities Act of 1965 when he said: "We will
 

create an American Film Institute, bringing together leading
 

artists of the film industry, outstanding educators, and
 

young men and women who wish to pursue the Twentieth
 

Century art form as their life’s work."
 

To develop a plan for the creation of the American Film
 

Institute, the National Endowment for the Arts has made a
 

grant of $91,000 to Stanford Research Institute, South
 

- 55­
--

Pasadena, California, to study:
 

-- the organization, functions and financing of
 

foreign film institutions.
 

characteristics of film schools and the use of
 

film in general education in the United States.
 

-- professional training and opportunities avail&
 

able to film-makers in the United States.
 

-- characteristics and needs of the American film
 

industry.
 

-- how best to establish a film institute in the
 

United States.
 

The study has been closely supervised by the Council’s
 

Committee on Film and the Endowment staff, which have
 

been in constant consultation with leaders of the film
 

industry.
 

The Stanford Research Institute will present a complete
 

report on the organization and location of the American
 

Film Institute to the Council in February, 1967.
 

- 56­
The report wi!l include suggestions for the Institute’s
 

-- organization and structure
 

-- objectives and functions
 

-- location
 

-- financial requirements
 

XXXXX
 

The National Council on the Arts is also developing a
 

program of SupDort for Educational Television. Contingent
 

upon the availability of funds from unrestricted gifts,
 

the Council outlined a program which would:
 

-- promote national dissemination of educational
 

programs.
 

-- encourage the development of educational programs
 

on theatre, music, dance and the fine arts.
 

-- enable local education~l television stations to
 

produce arts programs.
 

-- produce a pilot program for an entire series of
 

arts programs on educational television.
 

- 57­
VARIETY OF ART FORMS
 

Artists’ Housing Projec~
 

The National Council on the Arts initiated a program to
 

provide studio-living q~arters at reasonable rates fo~
 

artists. A $i00,000 matching grant was approved to the
 

J. M. Kaplan Fund, Inc.., New York City, to develop the
 

program. The project is being designed to provide artists
 

with adequate lighting,, acoustics and space, and long-term
 

leases which are frequently difficult to secure, enabling
 

them to work and live in both practical and comfortable
 

surroundings. The Kaplan Fund was chosen because of its
 

pioneer work in this field. The Council believes that
 

adequate and reasonably priced studio-living quarters are
 

among the most urgent needs for artists, especially in
 

the field of painting and sculpture.
 

Graduation Awards
 

The National Endowment for the Arts made $1,000 awards to
 

- 58­
77 outstanding students in the fields of art, literature,
 

music and architecture who graduated from institutions of
 

higher learning in June 1966. The awards enabled the young
 

artists, nominated by colleges and universities throughout
 

the United States, to broaden their cultural experience by
 

meeting with experts in their fields, and visiting institutions and areas of the United States of special interest
 

to them in their pursuit of artistic excellence.
 

Correspondence from some of the graduates indicates that
 

they are using award funds to visit major art schools and
 

museums, to attend music festivals throughout the country,
 

to consult with leading composers and creative writers, to
 

examine the American Institute of Architectls archives
 

and records, and to travel to regional theatres in an
 

effort to determine the taste and range of the American
 

theater-goer and investigate experimentation with style
 

and material in playwrighting.
 

- 59­
Institute of American Indian Arts
 

To focus national attention on the significant cultural
 

history of the American Indian, the National Endowment for
 

the Arts made a matching grant of $29,000 to the Institute
 

of American Indian Arts to support the Festival of the
 

Performing Arts of the American Indian. Seventy-five
 

young Indian performers representing 31 tribes throughout
 

the nation participated in the production which was cosponsored by the Center-for Arts of Indian America~ the
 

Institute of Contemporary Arts, and the Department of
 

Interior’s Bureau of Indian Affairs, and held at the
 

Carter Barton Amphitheatre in Washington~ D. C., June i~
 

3, 4, and 5, 1966.
 

Teachinq Artists Proqram
 

To free artists from t’heir teaching responsibilities for
 

periods of up to one year so that they might pursue
 

creative work in the arts, the National Endowment for the
 

Arts provided grants of up to $7,500 to 50 artists
 

- 60 ­
teaching in 45 institutions of higher education in 20
 

states. Grants nominations were made through the established panels of the National Institute of Arts and
 

Letters, which was chartered by the Congress sixty years
 

ago and whose membership includes leading artists throughout the United States. Many of the educational institution~
 

at which the musicians, writers and visual artists are
 

employed provided funds to make up the difference between
 

the Endowment’s grant amounts and the instructors’ annual
 

salaries.
 

The artists are utilizing the time and funds to produce
 

new music compositions, fiction, critical essays and
 

poetry, dramatic literature, paintings and prints,
 

etchings, sculpture, and for travel and research directly
 

related to works-in-progress.
 

XXXXX
 

Rural Arts Program.
 

The National Council on the Arts made plans to launch an
 

- 61 ­
experimental pilot program, which will attempt to develop
 

artists and audiences in five small rural communities,
 

through support of the University of Wisconsin College of
 

Agriculture’s Wisconsin Idea Theatre.
 

Under the supervision of Professor Robert E. Gard, The
 

Wisconsin Idea Theatre plans to explore methods of
 

increasing public receptivity to cultural programs in
 

towns with inadequate or non-existent arts facilities and
 

among ~eople who have not had the opportunity to participate in arts events. The Wisconsin communities involved
 

are:
 

Rhinelander, population 8,800, a northwoods center
 

for recreation and site of a large papermill.
 

Portaqe, population 7,1300, an historically important
 

recreation area~
 

Waupun, population 6,000, a natural wildlife refuge
 

area with a population of people of Dutch descent.
 

Adams-Friendship, population 1,800, an’economically
 

depressed area in whic’h there is a lack of cultural
 

facilities.
 

Sprinq Green, population 1,150, a natural center for
 

a large rural area in beautiful uplands country near
 

the home of the late Frank Lloyd Wright.
 

- 62­
(Subsequently funded in fiscal year 1967, the Rural Arts
 

Program is exposing these towns to a variety of creative,
 

performing and visual arts programs which involve locating
 

and supporting local artists and craftsmen, and inviting
 

professional artists to participat~ in activities, performances and exhibits. The Portage Reqiste.~ greeted the
 

program with a September i, 1966, editorial declaring:
 

"For our. money (and it is our tax money) the slow, sure
 

way is the best way for big government to move. And it
 

is exactly this approach which is being taken by the
 

National Foundation on the Arts experimental program
 

initiated Tuesday in Portage."
 

(Community reaction is constantly being evaluated by the
 

University and the towns compared to two similar communities which are not participating in the program. The
 

results of the study could have an impact on future
 

federal, state and local arts programming in rural areas
 

throughout the country.)
 

- 63 ­
 

The National Council on the Arts is also developing plans
 

to support:
 

An American Lyric Theatre Workshop: An experimental pilot
 

program to develop the nation’s first Lyric Theatre Workshop which will enable artists to collaborate in the
 

production of original works under the supervision of
 

Jerome Robbins, outstanding director, choreographer,
 

producer and dancer~
 

"The ultimate aim of the workshop," Mr. Robbins has
 

stated, "is to provide a place for performing and creative
 

artists to join together, work on.ideas, create new works,
 

extend and develop the musical theatre into an art
 

capable of poetically expressing the events, deep hopes
 

and needs of our lives." Mr. Robbins has offered to devote his full time and energy to the project for two years
 

without compensation.
 

- 64 ­
Mr. Robbins envisions and describes the project as follows:
 

"The American Lyric Theatre Workshop would be a
 

theatre laboratory in which projects involving
 

music, speech, song and dance would be worked
 

upon and developed. It would also develop a
 

company capable of performing works which do not
 

fit into the present theatre forms, be it our
 

commercial theatre or the s~parated realms of
 

pure opera, ballet or concert.
 

"Having worked in all of these fields, I find
 

myself (along with others) with a body of ideas
 

and projects which cannot be realized within the
 

forms or pressures of our existing theatre. Even
 

our contemporary musicals, which are internationally recognized as a unique American
 

accomplishment, are narrowly confined to their "
 

commercial aspects.
 

"I want to create a new kind of lyric theatre.
 

It would use all the forms and potentials of
 

our lyric theatres to produce new and original
 

kinds of works capable of expressing ideas in
 

large forms with poetic vision and free imagination. With my many years of experience in
 

’".all fields of theatre, I believe that with
 

proper assistance I will be able to bring such
 

a theatre into existence.
 

"Like a scientist or a painter, I need a
 

laboratory in which to study, do research,
 

develop material, experiment and try projects.
 

To do this I need time, space and equipment
 

(people). From this exploration, I hope to
 

achieve a theatre which would be a unique development in our American culture, and an
 

indigenous outgrowth of the American scene.
 

- 65­
"The Workshop would consist of a professional
 

group of actors, dancers and singers who have
 

talents in all three arts. There is such strong,
 

rich talent avail~le. A carefully selected
 

group of apprentices would be added in the
 

training and work. Composers, authors, poets,
 

painters and others would be asked to instigate
 

and collaborate on ideas. Projects would be
 

started; some would be gathered from already
 

existing material~, some must be w@itten. A
 

great deal of the material must be developed
 

within the workshop itself through continuing
 

experimentation. When enough progress is made,
 

audiences will be invited to observe ’work-inprogress’ rehearsals...
 

"Finally, I hope a repertory of works could be
 

assembled and dev.eloped, and that a company and
 

school would arise, established on the grounds
 

of our native indigenous materials and talents
 

which we already know are rich, available and
 

productive."
 

The Council further developed plans during the fiscal year
 

to support:
 

The Inter-American Foundation for the Arts: A program of
 

superior cultural exchange services for artists of the
 

united States and Latin America aimed at helping to dissolve
 

existing barriers and exposing the artists and their
 

- 66­
countrymen to the rich and widening cultures of the two
 

Americas  ̄
 

The project, which involves assistance to the American
 

creative writer, is expected to include such activities
 

as: the translation .and adaptation of Latin American
 

poetry, fiction and plays for publication or presentation
 

in the United States by American artists, and symposia to
 

bring together outstanding North and Latin American artists.
 

- 67 ­
VISUAL ARTS
 

American Exhibit at the Venice Biennale
 

To support American participation in international arts
 

events, the National Endowment for the Arts provided
 

matching funds totaling $38,000 to assist in the preparation of the American exhibition at the 1966 Venice
 

Biennale in September, 1966. The Venice Biennale is
 

widely recognized as the most important international art
 

exhibition of 1966o The American exhibition was devel~ped
 

by the National Collection of Fine Arts of the Smithsonian Institutionxxxxx
 

Museum Projec~
 

The National Council on the Arts planned during fiscal
 

year 1966 to initiate a pilot program designed to stimulate
 

public awareness of the visual arts by making facilities
 

of large metropolitan museums available to wider audiences
 

- 68 ­
in their communities and in outlying areas. It is anticipated that several museums within the country will be
 

able to develop strong educational programs for students and
 

initiate training programs for teachers as well as provide
 

traveling exhibitions, films and lecturers to tour regions
 

within their States.
 

The Council is also d.eveloping plans which will:
 

-- provide grant awards of $5,000 each to individual
 

painters and sculptors in recognition of past
 

contributions and to encourage further efforts
 

in the field of visual arts in the United States.
 

-- implement the development of original art work
 

in print workshops for exhibition by educational
 

institutions and other non-profit organizations.
 

-- initiate a survey of community visual arts resources in the.United States which will not only
 

determine the present geographic distribution of
 

visual arts facilities but will indicate gaps in
 

this distribution and include suggestions for
 

improving and extending current facilities.
 

-- make fine reproductions of drawings by contemporary
 

artists, as well as historical drawings, available
 

to wider audiences, particularly in educational fields.
 

-- provide funds for commissioning painters to create
 

new prints for distribution in portfolios of the
 

highest quality to high schools, libraries and educational institutions.
 

- 69 ­
THE PROGRAM OF ASSISTanCE TO STATE ARTS AGENCIES
 

Official State arts agencies in 50 States, the District of
 

Columbia, Puerto Rico, Guam and the Virgin Islands filed
 

apblications for grants-in-aid which permit States to
 

take a comprehensive new look at their cultural needs
 

and develop strong local and regional programs to fill
 

them. Applications, for which funding did not begin until
 

July i, 1966, revealed a remarkable variety of. imaginative
 

programs in the visual, performing and creative arts and
 

innovative technical assistance projects.
 

The National Foundation on the Arts and the Humanities
 

Act of 1965, Section 5h, was specifically designed to encourage States to furnish "adequate programs, facilities,
 

and services in the arts to all the people and communities
 

in each of the several States." Active, functioning
 

State arts agencies were eligible to apply for up to
 

$50,000 on a matching basis to develop and implement
 

projects providing programs, facilities and resources
 

throughout the state.
 

- 70­
From the potential $50,000 annual allotment each state
 

could elect, in fiscal 1967 only, to receive a one-time,
 

non-matching $25,000 grant to conduct a study to plan the
 

development of a State agency and to establish an arts
 

agency or council. Th~ enabling legislation authorized
 

$2.75 million annually for this program of direct assistance to the States, requiring that the funds be equally
 

allotted among them, and Congress appropriated $2 million
 

for the program in fiscal 1967.
 

Applications filed before the May i, 1966 deadline and the
 

appropriation curtailment, indicated the States were developing 295 new projects in the arts in fiscal 1967. It
 

is anticipated that 700 projects will be implemented in
 

fiscal 1968, many of them for performances and exhibitions
 

in communities which have never before had the opportunity
 

to participate in such activities.
 

- 71­
Among the programs being developed by State arts agencies
 

are projects designed to provide:
 

Special educational services which will develop
 

the arts at the community level, through such
 

programs as arts exhibits in local schools, new
 

systems and equipment for art education,
 

children’s theatre performances, and poetry
 

readings in the schools.
 

Community proqr~s which will stimulate art
 

appreciation through such programs as tours
 

by musical and theatrical groups, traveling
 

art exhibits, master classes and special
 

workshops, and adult education programs.
 

Technical assistance ahd advisory services
 

in any field of the arts for public and
 

private organizations~ institutions and
 

groups including performing groups, institutions of higher education, art museums,
 

community cultural centers, and local arts
 

councils.
 

An estimated 200 representatives from all the States, the
 

District of Columbia, Puerto Rico, and the Virgin Islands
 

attended the National Conference of Governors’ Representatives of State Arts Agencies, in Chicago, January 27-29,
 

1966, at which tentative guidelines for the Federal program
 

of assistance to State arts agencies were outlined.
 

Extensive and enthusiastic participation in sessions on
 

o 72­
organization, programming and financing of State arts
 

agencies led one critic to observe: "The meeting reflected
 

a new respectability for the arts on a grass-roots level
 

and the beginning of a massive, locally supported effort
 

to exploit this responsibility on an o££1cial basis."
 

Only 17 States and Puerto Rico had created official State
 

arts agencies or councils before 1965 when the National
 

Foundation on the Arts and the Humanities Bill was passed,
 

most of them without funds. Nineteen States and the
 

District of Columbia created agencies in 1965, and 14
 

States and the Virgin Islands and Guam created agencies in
 

1966. In 29 States the agency was created by the State
 

Legislature. Almost all of the 21 States in which the
 

agency was created by Executive Order will seek legislative
 

endorsement in 1967.
 

It is estimated that more than 30 States appropriated
 

$3,563,094 for State arts agency programming in 1966-67,
 

and that in fiscal 1967 legislatures will receive requests
 

exceeding $4.6 million f~om State arts agencies in all
 

States and special jurisdictions.
 

- 73­
Eleven states, the District of Columbia~ and Puerto
 

Rico applied for up to ~50,000 on a matchinq basis
 

for programming: California, Connecticut, Kentucky,
 

Michigan, Missouri, N~ Jersey, New York, Rhode Island,
 

Virginia, Washington, and West Virginia.
 

Eleven states, Guam, and the Virgin Islands applied
 

for study grants only of up to ~25~000: Indiana,
 

Iowa, Maine, Mississippi~ Montana, Nevada, North
 

Dakota, Oregon, South Carolina, South Dakota, and
 

Tennessee.
 

Twenty-eiqht states applied for combined study and
 

proqram grants: Alabama, Alaska, Arizona, Arkansas,
 

Colorado, Delaware, Florida, Georgia, Hawaii, Idaho,
 

Illinois, Kansas, Louisiana, Maryland, Massachusetts,
 

Minnesota, Nebraska, New Hampshire, New Mexico, North
 

Carolina, Ohio, Oklahoma, Pennsylvania, Texas, Utah,
 

Vermont, Wisconsin and Wyoming.
 

- 74 ­
~ o 

o 

o 

!
 

0
 

0 

0 

0
 

- 75­
APPENDICES
 

- 76­
EDITORIAL COMMENT ON THE NATIONAL ENDOWMENT FOR THE ARTS
 

"Now, through the agency of the National Council on the Arts,
 

grants and pledges totaling $2.3 million havebeen designated
 

for an impressive variety of artists, institutions and programs.
 

There has been no suggestion of political interference -- always
 

a danger when government enters the field of the arts. The
 

money has been distributed with an uncommon understanding of
 

where and by whom it is most needed. The range of grants is
 

wide .... A painstaking effort has clearly been made to support
 

what is truly serious...the National Council on the Arts has
 

discharged its responsibilities with admirable intelligence
 

and taste." (Editorial, New York Times, December 26, 1966)
 

"The Endowment has accomplished infinitely more than anyone
 

dreamed it could accomplish a year ago...che Endowmen~ has
 

instituted no less than 45 projects that were not contemplated
 

a year ago .... The breadth of this program is staggering, and
 

its implications for future development are quite incredible ....
 

One hopes that the National Endowment for the Arts can demonstrate as much receptivity as capacity for growth. Its growth
 

during the past year is beyond belief, and all of it has been
 

to the good." (Alfred Frankenstein, Art Editor, San Francisco
 

Chronicle, October 23, 1966)
 

"...In the arts and in the field of education, President
 

Johnson has made far reaching, idealistic federal commitments without precedent. The arts in particular have
 

received a series of shots in the arm which...are among
 

the most creative fiscal allotments ever made. Taken in
 

sum, they suggest a distinctively American plan for
 

government aid to the arts which may overturn a good many
 

notions and bromides .... The remarkable fact ~s that the
 

National Council on the Arts so far has been a muscular,
 

fast-moving, and unorthodox arm of the government which
 

plants its punches where they likely will count most and
 

wastes neither energy nor money...the council has created
 

more excitement and less controversy than anyone had a
 

right to expect." (Thomas Willis, Music Editor, Chicago
 

Tribune, September 18, 1966)
 

"The United States government has traditionally taken a perfunctory
 

interest in the nation’s artistic life .... But now the picture has
 

been brightened somewhat. The National Arts Endowment, which is
 

supported by the National Arts Council, has made grants to a number
 

of projects which will encourage new ideas and fresh approaches in
 

the creative fields. The experimenters are being given a chance to
 

satisfy the ever increasing appetite of the American public for culture in general, and for new ideas in particular." (Editorial,
 

White Plains, New York Reporter Dispatch, September 6, 1966)
 

- 77 ­
"The National Council on the Art.s continues its thoughtful
 

assistance to L~merican cultural life. The latest series
 

o~ grants, like its predecessors, shows creative imagination in the administration of fu’nds to match the creative
 

imagination the council hopes to nurture in the arts."
 

(Editorial, Washington Evening Star, September 5, 1966)
 

"...It is not a bit too soon to commend...Roger L. Stevens and
 

his advisers, the members of the National Arts Council, for
 

their energy and breadth of vision. The endowment is confounding
 

the Cassandras who glumly prophesied that public funds would be
 

spent on cautious principles and unadventurous programs. The
 

reverse has been true .... Seldom has a new government program,
 

especially one so beset with possible booby traps, been imple-.
 

mented with so much imagination and dispatch." (Howard Taubman,
 

Critic-at-Large, New York Times, September I, 1966)
 

"The first year’s program, announced last November by
 

chairman Roger L. Stevens, sh~wed courage, imagination
 

and much expert thought. There is no reason to believe
 

those qualities will diminish. There is no reason to
 

believe the need for financial help will diminish. The
 

existence of the National Foundation and its Endowments
 

and Councils in the arts and the humanities has been one
 

of the most encouraging signs of these times. It has
 

meant national concern for the higher reaches and the
 

higher rewards of the human spirit, a concern very long
 

overdue." (Editorial, Washington Evenin~ Sta~, April 4, 1966)
 

"The government’s Na~:ional Foundation on the Arts and the
 

Humanities promises to be one particularly adventurous agency
 

and may even reverse traditional roles. Arts council chairman,
 

Roger Stevens, has authority to finance pilot projects and
 

then ask private foundations to put up matching funds or take
 

over the projects. ~hile foundations claim that they are the ,
 

venture capital in a pluralistic economy, examples like this
 

have prompted critics to say that government has captured the
 

lead in innovation as well." (Newsweek Coverstory, "The
 

American Way of Giving," March 14, 1966)
 

"The Federal Government’s new presence in the arts makes it
 

almost a certainty that the mid-1960’s will be a great watershed in their history in America. Sparked by the money and
 

energies released by the establishment of a National Arts
 

Endowment, a host of projects are being dev~loped .... All
 

this planning reflects a salutary change in the nation’s
 

cultural climate .... In the mid-1960’s the Federal Govern-


ment...is investing directly and openly in artists and
 

artistic institutions." (Howard Taubman, Critic-at-Large,
 

New York Times, January 18, 1966)
 

- 78­
"...The arts council’s think sessions have come up with a
 

seven-point program of imagination, moderation and awareness that the U.S. eddies beyond the Hudson and Potomac."
 

(Richard L. Coe, Drama Critic, Washinston Post, as it
 

appears in The Providence Journal, November 21, 1965)
 

"The National Council on the Arts...set a pattern for thoughtful
 

discrimination as to need and prospect in the arts. In its
 

first major action the council demonstrated brilliantly that
 

it will be an imaginative force for intelligent change in the
 

a~ts structure o~ this country, as well as a quick anl generous
 

support for the truly national institutions in their moments
 

dire...the council is not only doing things, it is setting an
 

example of how these things ought to be done...with a paltry
 

$3 million, the council has made an utterly brilliant beginning.
 

There isn’t a false move. The return will be many, many times
 

the investment. And almost every item is so beautifully
 

constructed that it will teach the trustees, patrons, directors
 

and customers of the American art establishment things they
 

should have known before .... President Johnson, Senator
 

Pell (D-R.I.) who was chairman of the Senate Special
 

~ub-Committee on the Arts and Humanities and introduced th~
 

Administration’s legislation, Mr. Stevens and a cast of
 

thousands over the years have brought in a winner." (Frank
 

Getlein, Art Critic, Washington Evening Star, November 21, 1965)
 

"...The National Council on the Arts has made a good beginning ....
 

Before they make recommendations to Congress or even grandiose
 

statements to the press, they propose to spend more time
 

thinking about the prospects and possibilities. They are
 

taking their responsibilities sensibly and are more concerned
 

with making sense than with making news. That’s admirable ....
 

They are notable pioneers in a great and good cause." (Elliot
 

Norton, Drama Critic, Boston Record American~ April 15, 1965)
 

- 79­
PUBLICATIONS AVAILABLE FROM THE NATIONAL ENDOWMENT FOR THE ARTS
 

A Review of Statements by President Lyndon B. Johnson on the Arts:


Excerpts from statements by the President on the meaning and purpose
 

of the arts, the arts in the "Great Society," the role of government
 

in support of the arts, and on arts and humanities legislation.
 

A Review of Statements by Ro~;er L. Stevens on the Arts: Excerpts
 

from statements by the Chairman of the National Council on the Arts
 

on the role of government in support of the arts, the meaning and
 

purpose of the arts, the status of the arts in the United States,
 

the need to stimulate and encourage the arts, the problems confronting the arts, the role of educational institutions in support of the
 

arts, and the relationship between art and science.
 

Federal Funds and Services for the Arts: A guide to programs of
 

direct assistance to individual artists, programs for which holleges
 

and universities, public or .private agencies and institutions, state
 

and local education agencies may apply for funds and services to
 

strengthen arts programming, and arts activities which Federal agencies and commissions have developed to promote a richer cultural
 

environment. (The book will be published by the Office of Education
 

and available from the Superintendent of Documents in the spring of
 

1967.)
 

Hirin5 an Executige in the Arts: A guide to hiring a full-time administrative head of an arts; agency or organization, detailing the
 

duties of the administrator, the qualities which are desirable in
 

such an individual, and the actual steps of organizing an interview
 

for prospective candidates.
 

A Review of Arts Activities in the States: A compilation of Stateby-State factsheets providing background material on programs and
 

planning of State arts agencies, performing’arts activities in each
 

State, and the kinds of grant requests which have been received by
 

the National Endowment for ’the Arts.
 

Summary of State Arts Activities: A summary of the status and funding of State arts agencies which surveys the background of State
 

arts agency board members, reviews applications for Federal funds
 

and grant requests received by the National Endowment for the Arts,
 

and analyzes performing arts activities in the United States.
 

- 80 ­
STUDIES INITIATED BY T~E NATIONAL ENDOWMENT FOR THE ARTS IN 1966
 

The Arts and Access to Hisher Education, undertaken by Lewis B.
 

Mayhew: A study of the effect of university and college entrance
 

requirements and policies on the curricula of secondary schools in
 

the United States indicating that the emphasis on science and technology in higher education has forced secondary schools to emphasize the same subjects at the exl~ense of the arts and humanities.
 

Organization and Location of an American" Film InstitutE, undertaken
 

by Stanford Research Institute: A study to determine the most essential and appropriate features of an American film institute by
 

reviewing film education in the U. S. and abroad, the needs and
 

means of making archival materials available for study and use,
 

organizational possibilities and locational requirements, and criteria for equitable financial participation.
 

Prosram Index: Institutional Activity in Desisn and Development of
 

the Physical Environment, undertaken by Robert R. Nathan Associates,
 

Inc.: A guide to the nature, organization and functions of fnstitutions--federal, state and local governments, foundations and associations, corporations, labor unions and mass media--whose activities influencethe shape and character of environment in the
 

United States. (Project approved 1966; funded 1967.)
 

The Role of the Arts in the Education of the Poo~, undertaken by
 

Julian Euell: An investigation of the use of the arts as a positive
 

influence in alleviating the oppressions of poverty based on extensive interviews with key personnel in anti-poverty agencies and community organizations.
 

- 81­
NATIONAL ENDOWMENT FOR THE ARTS
 

Staff
 

Roser L. Stevens, Chairman, National Council on the Arts and National
 

Endowment for the Arts; Chairman, Board of Trustees, John F. Kennedy
 

Center for the Performing Arts; Special Assistant to the President on
 

the Arts.
 

Livingston L. Biddle~ Jr.% Deputy Chairman, National Endowment for the
 

Arts: B.A. Princeton University, 1940; former newspaper reporter and
 

author of four novels published between 1946 and 1962; author of articles
 

for national magazines; Special Assistant to Senator Claiborne Pell from
 

1962-1965, with primary work on Arts and Humanities legislation.
 

Frank H. Crowther, Special Assistant to the Chairman, National Endowment
 

for the Arts: B.S. in philosophy, University of North Carolina; Writer-


Editor, Democratic National Committee; Assistant to the Chairman and Sales


Promotion Officer, U. S. Travel Service, Department of Commerce; Special
 

Assistant to the Governor of the Virgin Islands; Associate Producer,
 

News and Public Affairs, ~NBC and WNBC-TV; Production Assistant, NBC
 

Monitor; Associate Writer, RCA-NBC International Color TV Presentation,
 

Brussels Worlds Fair, 1958.
 

Charles B. Ruttenber5, General Counsel, National Foundation on the Arts
 

and the Humanities: B.A., University of Virginia; LLB., University of
 

Pennsylvania; associated with firm of Covington and Burling, Washington,
 

D.C.; Special Legal Consultant to Director and later Deputy General Counsel, National Science Foundation; member D.C. Bar Association, Federal Bar
 

Association; Vice-President, University of Pennsylvania Law Alumni of
 

Washington, D.C.
 

Robert W. Cox~ Administrative Director,’National Foundation on the Arts
 

and the Humanities: A.B. and B.S., Syracuse University; Director of
 

Operations Analysis, Office of the Secretary, Department of Health, Education and Welfare; Deputy Executive Director, Federal Communications
 

Commission ; Budget Examiner, Bureau of the Budget; Adjunct Professor in
 

Government, American Uniw~rsity.
 

Office of State and Communit[ Operations develops and maintains a program
 

of grants-in-aid to official state arts agencies in conjunction with state
 

officials.
 

CHARLES C. MARK, Director, State and Community Operations:
 

B.S. and M.S.S.W., University of Wisconsin; author, Run Awaz
 

Hom___~e; Associate Executive Director, Wisconsin Welfare Council;
 

- 82­
Executive Director, Belolt, Wisconsin United Givers’ Fund;
 

Executive Director, The Greater St. Louis Arts and Education
 

Council; Executive Director, Winston-Salem Arts Council;
 

founding member and trustee, Associated Councils of the Arts.
 

Program Directors help initiate and review proposals in their fields of
 

expertise--carrying out programs approved by the National Council on the
 

Arts, recommending future programs, coordinating panels of experts which
 

help develop programs approved by the Council.
 

HENRY GELDZAHLER, Consultant, Visual Arts: B.A., Yale University;
 

graduate teaching fellow, Harvard University; Associate Curator,
 

American Art and Sculpture, Metropolitan Museum of Art.
 

CAROLINE KIZER, Creative Writing: Author, Knock Upon Silence and
 

The Ungrateful Garden; founder and Editor, Poetz7 Northwest;
 

Director, Association of Literary Magazines of America; poet-


lecturer on Amerlcan literature in East and West Pakistan under
 

the auspices of the U. S. Department of State.
 

RUTH MAYLEAS, Theatre and Dance: B.A., Cornell University;
 

Hanya Holm School of Dance, New York; Editor, ANTA News Bulletin
 

and Regional Theatre Section of The Best Plays of 1964-196~;
 

Director, National Theatre Service Department, The American
 

National Theatre and Academy; Assistant Director, U. S. Centre,
 

International Theatre Institute; Member, Board of Directors,
 

U. S. Institute of Theatre Technology; Vice President, Drama Desk.
 

PAUL SPREIREGEN, Architecture and Design: B.Arch., Massachusetts
 

Institute of Technology; Fulbrlght Scholar in Italy; author,
 

Urban Design: the Architecture of Towns and Cities; Director,
 

Urban Design Programs, American Institute of Architects; edited
 

The Modern Metropolis: Its Origlns~ Growth~ Characteristics~and
 

Planning by Hans Blumenfeld; recipient, Arnold W. Brunner grantin-ald to edit the papers of Elbert Peers, landscape architect;
 

member, Committee of Architects and Planners for Federal Commission for the Reconstruction of Alaska.
 

DAVID C. STEWART, Educational Programs and Public Media: M.A.
 

degrees from Columbia University and Western Reserve University;
 

instructor of dramatic literature and theatre production, Robert
 

College in Istanbul, Vassar College, Western Reserve University;
 

Director, National Educational Television Washington Office;
 

Executive Director, Joint Council on Educational Broadcasting;
 

Consultant on the Arts, American Council on Education; Project
 

Director, Dartmouth College motion picture study.
 

FANNIE TAYLOR, Music: B.A., University of Wisconsin; Associate
 

Professor and Theatre Director, Wisconsin Union Theatre, University of Wisconsin; founding member and Secretary, Association of
 

- 83 ­
College and University Concert Managers; Editor, Association of
 

College and Universit~ Concert Managers Bulletin; Secretary,
 

Governor’s Council on the Arts (Wisconsin); Govez-nor’s appointee,
 

Wisconsin Arts Foundation and Council; Executive Committee,
 

Madison Arts Council.
 

Office of Government Liaison coordinates the activities of the National
 

Council on the Arts with other Federal agencies, Diplomatic Missions in
 

Washington, and other public and private organizations and institutions
 

concerned with assisting artists or arts programming.
 

DIANA PRIOR-PALMER, Director, Office of Government Liaison:
 

Educated in England, France and Italy; assistant at NATO
 

Council of Ministers, and the United Nations; National Coordinator of the Nation~ideAmerlcan Landmarks Celebration.
 

Office of Program Evaluation analyzes proposed projects, studies all grant
 

applications, and reviews eligibility of individuals or groups for the
 

appropriate Program Director.
 

JUNE AllEY, Director, Office of Program Evaluation: Salem College;
 

writer, Winston-Salem Journal and Sentinel; Public Information
 

Consultant to North Carolina Foundation o= Church-Related Colleges;
 

Winston-Salem Arts Council fund campaign Director; Special Consultant, North Carolina School of the Arts; President, Winston-


Salem Symphony Association; founding member and Board of Directors,
 

Winston-Salem Civic Ballet; Board member, Winston-Salem Gallery of
 

Fine Arts; Board of Directors, Children’s Theatre Board.
 

Office of Public Affairs distributes information and materials describing
 

programs and planning of the National Council on the Arts to the press and
 

public.
 

ELEANOR POLL0~K, Director, Office of Public Affairs: Women’s Editor,
 

The Evenin~ and Sunday Bulletin in Philadelphia and The Philadelphia
 

Record; Editor-in-Chief, Cu_~e; Managing Editor, Charm; assistant to
 

the Director, Women’s Division, Look; Consultant, Office of Economic
 

Opportunity; by-line articlewrlter, national magazines.
 

Office of Research maintains a library, executes studies and compiles
 

materials and reports for staff use and public distribution.
 

SUREVA SELIGSON, Director, Office of Research: B.A., New York
 

University; assistant to columnist Charles L. Bartlett; Director,
 

Research Division, Democratic National Committee.
 

- 84 ­
Office of Grants insures that applications comply with grant policies and
 

requirements.
 

RICHARD H. HEDRICH, Director, Office of Grants: B.S., Northwestern University; Ph.D., University of Maryland; administrative
 

positions, U. S. Department of Health, Education and Welfare,
 

Office of Education; lecturer, Government and Politics, University
 

of Maryland.
 

- 85 ­
Other Activities of Council and Endowment
 

The Chairman of the Endowment and its staff are available to consult
 

with arts organizations throughout the country whenever requested.
 

Members of the National Counc.il on the Arts have contributed hundreds
 

of hours and traveled tens of thousands of miles, often at their own
 

expense, to discuss Endowment programs and to explore new programs which
 

will meet existing and anticipated needs in every field of the arts.
 

Program Directors and other ~taff members have visited or held conferences with representative~ from every State and Territory.
 

The Chairman, during his tenure in office, has traveled over 300,000
 

miles and visited almost eve~ State and Territory. Following is a
 

list of organizations which 1~ger Stevens has addressed in fiscal 1966:
 

Theatre Atlanta Organization~ml Meeting, Atlanta, Georgia. (7/11/65)
 

Sigma Alpha Iota Convention, Minneapolis, Minnesota. (7/13/65)
 

National Education Association Center, Washington, D.C. (7/24/65)
 

American Educational Theatre Association, Miami, Florida. (7/25/65)
 

Ground Breaking Ceremony, De Cordova Museum~ Boston, Massachusetts.
 

(9/19/65)
 

Kent State University, Kent, Ohio. (9/20/65)
 

Dedication of New Jersey Cultural Center, Trenton, New Jersey.
 

(9/26/65)
 

St. Louis Council on the Ar~s, St. Louis, Missouri. (10/22/65)
 

Dedication of the Arts Center Building, University of Oklahoma, Tulsa,
 

Oklahoma. (10/24/65)
 

Music Critics Association, Flint, Michigan. (11/11/65)
 

Arts Councils of America Conference, New York City. (11/22/65)
 

National Theatre Conference,. New York City. (11/26/65)
 

- 86 ­
National Association of Schools of Music, Chicago, lllinois. (11/27/65)
 

State University, Geneseo, New York. (11/29/65)
 

Art Society, Raleigh, North Carolina. (12/I/65)
 

Harvard Graduate School of Design, Cambridge, Massachusetts. (12/14/65)
 

New School for Social Research, New York City. (12/18/65)
 

Co=m~unity Arts Fund Drive, Fort Worth, Texas. (1/6/66)
 

Fourth Annual Concert Managers Conference, Iowa City, Iowa. (1/7/66)
 

National Music Council, New Yor~ City. (1/11/66)
 

Representatives of Art and Historical ~useums of the Commonwealth
 

of Pennsylvania. (1/16/66)
 

National Conference of Governor~ Representatives of State Arts
 

Agencies, Chicago, Illinois. (1/21/66)
 

Independent Film Importers and Distributors of America, New York City.
 

(1/21/66)
 

University of Connecticut Fine Arts Convocation, Storrs, Connecticut.
 

(1/26/66)
 

Arizona State University, Tucson, Arizona. (1/31/66)
 

Diplomatic Corps of Washington, D.C. (2/21/66)
 

University of Alabama, University, Alabama. (2/22/66)
 

National Electric Sign Association, Miami, Florida. (3/15/66)
 

Eastern Arts Association Conference, Boston, Massachusetts. (3/18/66)
 

Juilliard School of Music, New York City. (3/27/66)
 

Brooks Memorial Art Gallery, Memphis, Tennessee. (4/13/66)
 

Louisiana Council for Music and Performing Arts, New Orleans, Louisiana.
 

(4/14/66)
 

Fi~e Arts Society, San Diego, California. (4/21/66)
 

- 87 ­
Temple University Alumnae Conference, Philadelphia, Pennsylvania.
 

(4/23/66)
 

Choate School, Walllngford, Connecticut. (4/30/66)
 

Cue Magazine benefit for the National Endowment for the Arts. (5/20/66)
 

National Institute and American Academy of Arts and Letters, New York
 

City. (5/26/66)
 

Oregon Festival Association, Ashland, Oregon. (6/5/66)
 

M.H. de Young Memorial Museum, San Francisco, California. (6/11/66)
 

University of Utah, Salt Lake City, Utah. (6/23/66)
 

The American National Theatre and Academy, UCLA, Los Angeles, California.
 

(6/25/66)
 

- 88­
--

--

--

--

Program and Grant Evaluation Procedure
 

The National Council on the Arts, in addition to its scheduled meetings,
 

works constantly through its committees and extensive travels, often
 

without government compensation, to assess and help initiate programs
 

and policies deemed beneficial to the development of the arts in the
 

United States. The Chairman has emphasized repeatedly the dedication of
 

these public-spirlted men and women, and the broad experience they bring
 

to their tasks. Their experience and recommendations are fundamental to.
 

the operation of the Endowment. Moreover, panels of other private citizen experts are ~idely used to assist in developing the Endowment’s programs and its specific projects. Thus there is a broad, cooperative
 

participation by the private community in the Endowment’s work, in keeping with the spirit of the enabling legislation.
 

Great numbers of requests for assistance are received by the Endowment
 

from arts organizations and individuals throughout the United States.
 

These requests are:
 

Reviewed in the Program Evaluation Office where they are:
 

Summarized and categorized on 8x5 file cards for triple
 

indexing by arts category, geography and name of applicant.
 

Transmitted to the Chairman and then to Program Directors if
 

they are complete and eligible under programs authorized by
 

the Council or if they contain new programs worthy of Council
 

consideration.
 

Analyzed and acknowledged by a Program Director who:
 II.
 

Determines whether the applications fall within authorized
 

programs or should be treated as special out-of-phase programs.
 

-- Notifies applicants of the status of their requests.
 

Solicits and compiles background material on every legitimate
 

application, frequently in conjunction with appropriate Panel
 

or Council members.
 

- 89 ­
-­

-­

-­

Reviews all programs with the Chairman. 

Presents applications and pertinent data on them to the Panel. 

Compiles brief reports on Panel recommendations on each application for Council action which are reviewed by the Chairman 

before their inclusion in the Council agenda. (Programs are 

also written up by Program Directors for presentation to the 

Council at the request of individual Council members.) 

III. Acted on by the National Council on the Arts which reviews and advises on all panel recommendations and grant applications. 

IV. Approved or disapprow~d by the Chairman of the Council and the Endowment. 

VB Implemented by the Program Director who notifies the applicant of 

final action and the Grants Office which (I) sends an award letter 

for the grantee’s signature and (2) mails a check upon its receipt. 

- 90 ­
IND I’V IDUAL GRANTEES
 

TEACHING ARTISTS: Fifty sabbatical leave grants of up to $7,500
 

each to enable novelists, poets, painters, sculptors, and composers
 

teaching in institutions of higher learning to take one-year leaves
 

to pursue creative work in the arts. ($372,500)
 

IN ART ­

Recipient
 

Sigmund Abeles
 

Wellesley, Massachusetts
 

Humbert Albrizio
 

Iowa City, Iowa
 

Leland Bell
 

Iowa City, Iowa
 

Nicolas Carone
 

New York, New York
 

Bernard Chaet
 

New Haven, Connecticut
 

Thomas Cornell
 

Brunswick, Maine
 

Leon Goldin
 

New York, New York
 

Herbert Katzman
 

New York, New York
 

Jacob Landau
 

Brooklyn, New York
 

John Laurent
 

Durham, New Hampshire
 

James McGarrell
 

Bloomington, Indiana
 

Elliott Offner
 

Northampton, Massachusetts
 

School Affiliation
 

Wellesley College
 

Wellesley, Massachusetts
 

University of Iowa
 

Iowa City, Iowa
 

New York Studio School of
 

Painting and Drawing
 

New York, New York
 

Cooper Union
 

New York, New York
 

Yale University
 

New Haven, Connecticut
 

Bowdoin College
 

Brunswick, Maine
 

Columbia University
 

New York, New York
 

School for Visual Arts
 

New york, New York
 

Pratt Institute
 

Brooklyn, New York
 

University of New Hampshire
 

Durham, New Hampshire
 

Indiana University
 

Bloomington, Indiana
 

Smith College
 

Northampton, Massachusetts
 

- 91­
Arthur Osver
 

St. Louis, Missouri
 

James Rosati
 

New Haven, Connecticut
 

Maltby Sykes
 

Auburn, Alabama
 

IN CREATIVE WRITING ­

Recipient
 

Leonie Adams
 

New York, New York
 

Ben Belitt
 

Bennington, Vermont
 

Vance Bourjailly
 

lowa City, lowa
 

James V. Cunningham
 

Waltham, Massachusetts
 

Edward Dahlberg
 

New York, New York
 

Reuel Denney
 

Honolulu, Hawaii
 

George Garrett
 

Charlottesville, Virginia
 

Albert J. Guerard
 

Stanford, California
 

Mark Harris
 

San Francisco, California
 

Donald Justice
 

lowa City, lowa
 

X.J. Kennedy
 

Medford, Massachusetts
 

Washington University
 

St. Lou~, Missouri
 

Yale University
 

New Haven, Connecticut
 

Auburn University
 

Auburn, Alabama
 

School Affiliation
 

Columbia University
 

New York, New York
 

Bennington College
 

Bennington, Vermont
 

University of Iowa
 

Iowa City, Iowa
 

Brandeis University
 

Waltham, Massachusetts
 

University of Missouri at Kansas City
 

Kansas City, Missouri
 

University of Hawaii
 

Honolulu, Hawaii
 

University of Virginia
 

Charlottesville, Virginia
 

Stanford University
 

Stanford, California
 

San Francisco State College
 

San Francisco, California
 

Syracuse University
 

Syracuse, New York
 

Tufts University
 

Medford, Massachusetts
 

- 92­
Joseph Langland
 

Amherst, Massachusetts
 

Andrew Lytle
 

Sewanee, Tennessee
 

Josephine Miles
 

Berkeley, California
 

Julian Moynahan
 

New Brunswick, New Jersey
 

John Frederick Nims
 

Chicago, Illinois
 

Reynolds Price
 

Durham, North Carolina
 

Muriel Rukeyser
 

New York, New York
 

Julia Randall Sawyer
 

Hollins College, Virginia
 

L. Seymour Simckes
 

Poughkeepsie, New York
 

Louis Simpson
 

Berkeley, California
 

W.D. Snodgrass
 

Detroit, Michigan
 

Richard G. Stern
 

Chicago, Illinois
 

Harvey Swados
 

New York, New York
 

Theodore Weiss
 

Annandale-on-Hudson, New York
 

University of Massachusetts
 

Amherst, Massachusetts
 

University of the South
 

Sewanee, Tennessee
 

University of California
 

Berkeley, California
 

Rutgers University
 

New Brunswick, New Jersey
 

University o£ lllinois
 

Chicago, lllinois
 

Duke University
 

Durham, North Carolina
 

Sarah Lawrence College
 

Bronxville, New York
 

Hollins College
 

Hollins College, Virginia
 

Vassar College
 

Poughkeepsie, New York
 

University of California
 

Berkeley, California
 

Wayne State University
 

Detroit, Michigan
 

University of Chicago
 

Chicago, lllinois
 

Sarah Lawrence College
 

Bronxville, New York
 

Bard College
 

Annandale-on-Hudson, New York
 

- 93­
IN MUSIC -


Recipien~
 

Leslie Bassett
 

Ann Arbor, Michigan
 

Arthur Berger
 

Waltham, Massachusetts
 

Ingolf Dahl
 

Los Angeles, California
 

Donald Erb
 

Cleveland Heights, Ohio
 

Ben B. Johnston
 

Urbana, Illinois
 

Nikolai Lopatnikoff
 

Pittsburgh, Pennsylvania
 

Andrew Imbrie
 

Berkeley, California
 

Vincent Persichetti
 

Philadelphia, Pennsylvania
 

Louise Talma
 

New York, New York
 

Vladimir Ussachevsky
 

New York, New York
 

School Affiliation
 

University of Michigan
 

Ann Arbor, Michigan
 

Brandeis University
 

Waltham, Massachusetts
 

University of Southern California
 

Los Angeles, .California
 

Cleveland Institute of Music
 

Cleveland, Ohio
 

University of lllimois
 

Urbana, lllinois
 

Carnegie Institute of Technology
 

Pittsburgh, Pennsylvania
 

University of California
 

Berkeley, California
 

Juilliard School of Music
 

New York, New York
 

Hunter College
 

New York, New York
 

Columbia University
 

New York, New York
 

- 94 ­
INDIVIDUAL GRANTS TO CHOREOGRAPHERS: Grants to eight choreographers
 

to enable them to create and produce outstanding works. ($103,000)
 

Alvin Ailey
 

Merce Cunningham
 

Martha Graham
 

Jose Limon
 

Alwin Nikoials
 

Anna Soko low
 

Paul Taylor
 

Antony Tudor
 

................ $ 5,000
 

................ 5,000
 

................ 40,000
 

................ 23,000
 

......... - ....... 5,000
 

................ i0,000
 

............  ̄ .... 5,000
 

................ I0,000
 

- 95 ­
GRADUATION AWARDS: Seventy-seven graduation awards of $i,000 each
 

to enable promising young artists, musicians and creative writers
 

who graduated from college in June 1966 to visit art centers,
 

museums, institutions, cities or areas of the United States which
 

will enrich their =ultural experience. ($77,000)
 

IN ART ­

Recipient
 

Fuad Bahou
 

Los Angeles, California
 

James Bolton
 

Albuquerque, New Mexico
 

Patricia Brown
 

Austin, Texas
 

Ronald Eugene Buff
 

Lexington, South Carolina
 

Gail A. Chamberlin
 

Syracuse, New York
 

Karen Lee Cooke
 

Charleston, South Carolina
 

Barbara Decker
 

Buffalo, New York
 

Franklin Ettenberg
 

Bayside, New York
 

David R. Flaharty
 

Rocky Hill, Connecticut
 

Jack Frost
 

San Francisco, California
 

June Golde
 

Great Neck, New York
 

Vicki J. Gotcher
 

McAlester, Oklahoma
 

Peter Gutkin
 

Stamford, Connecticut
 

School Affiliation
 

University of California, Los Angeles
 

Los Angeles, California
 

University of New ~exico
 

Albuquerque, New Mexico
 

Cleveland Institute of Art
 

Cleveland, Ohio
 

University of South Carolina
 

Columbia, South Carolina
 

Indiana University
 

Bloomington, Indiana
 

Syracuse University
 

Syracuse, New York
 

Carnegie Institute of Technology
 

Pittsburgh, Pennsylvania
 

University of Michigan
 

Ann Arbor, Michigan
 

Cranbrook Academy of Art
 

Bloomfield Hills, ~ichigan
 

San Francisco Art Institute
 

San Francisco, California
 

Cooper Union School of Art
 

New York, New York
 

University of Oklahoma
 

Norman, Oklahoma
 

Temple University
 

Philadelphia, Pennsylvania
 

- 96 ­
Michael lampieri
 

Baltimore, Maryland
 

James Jackson
 

Arlington, Texas
 

Michael Kovach, Jr.
 

Milwaukee, Wisconsin
 

Donald B. McAdams, Jr.
 

Minneapolis, Minnesota
 

Jack F. McCarthy
 

Joliet, Illinois
 

Meredith Elaine Meyer
 

Gardner, North Dakota
 

John Joseph Moore
 

St. Louis, Missouri
 

Barbara Nadel
 

New York, New York
 

Stephen L. Rhodes
 

Des Moines, Iowa
 

Garry Rich
 

Arkansas City, Kansas
 

George Rowan
 

Jacksonville, Alabama
 

John Reid Scudder
 

Scottsdale, Arizona
 

Thomas L. Shooter
 

North Grosvenordale,
 

Connecticut
 

Elizabeth C. Walker
 

Hockessin, Delaware
 

John Williams
 

Baltimore, Maryland
 

The Catholic University of America
 

Washington, D.C.
 

University of Texas
 

Austin, Texas
 

Layton School of Art
 

Milwaukee, Wisconsin
 

Minneapolis School of Fine Arts
 

Minneapolis, Minnesota
 

Art Institute o£ Chicago
 

Chicago, Illinois
 

University of North Dakota
 

Grand Forks, North Dakota
 

Washington University
 

St. Louis, Missouri
 

Boston University
 

Boston, Massachusetts
 

Carleton College
 

Northfield, Minnesota
 

Kansas City Art Institute and
 

School of Design
 

Kansas City, Missouri
 

Tul~ne University
 

New Orleans, Louisiana
 

Arizona State University
 

Tempe, Arizona
 

School of the Boston Museum
 

of Fine Arts
 

Boston, Massachusetts
 

University of Delaware
 

Newark, Delaware
 

Maryland Institute of Art
 

Baltimore, Maryland
 

- 97 ­
William Williams
 

Jamaica, New York
 

Daniel C. Wills
 

Pawcatuck, Connecticut
 

IN CREATIVE WRITING ­

Recipient
 

Laurel Ellen Bird
 

Knoxville, Tennessee
 

Samuel Patton Brasfield
 

Demopolis, Alabama
 

William Brown, -Jr.
 

Graham, North Carolina
 

R. Michael Bundgaard
 

Colorado Springs, Colorado
 

Oreste D’Arconte
 

Allentown, Pennsylvania
 

Barbara Drake
 

Eugene, Oregon
 

Margaret Leigh Ferguson
 

Richmond, Virginia
 

John M. Finlay
 

Tuscaloosa, Alabama
 

Myra Glazer
 

Cambridge, Massachusetts
 

Grace Harriman
 

Cambridge, Massachusetts
 

John Williams Hay
 

Sewanee, Tennessee
 

David LeCount
 

College, Alaska
 

Pratt Institute
 

Brooklyn, New York
 

Rhode Island School of Design .
 

Providence, Rhode Island
 

School Affiliation
 

University of Arkansas
 

Fayetteville, Arkansas
 

University of Nevada
 

Reno, Nevada
 

University of Kentucky
 

Lexington, Kentucky
 

Kenyon Colleg~
 

GamDier, Ohio
 

University of Pennsylvania
 

Philadelphia, Pennsylvania
 

University of Oregon
 

Eugene, Oregon
 

Hollins College
 

Hollins College, Virginia
 

University of Alabama
 

University, Alabama
 

Antioch College
 

Yellow Springs, Ohio
 

Bennington College
 

Bennington, Vermont
 

University of the South
 

Sewanee, Tennessee
 

University of Alaska
 

College, Alaska
 

- 98 ­
David McElroy
 

Missoula. Montana
 

David C.C. Matthew
 

New York, New York
 

Anne Hamilton Merkley
 

Pocatello, Idaho
 

John B. Omwake
 

Chambersburg, Pennsylvania
 

Melinda Popham
 

Shawnee Mission, Kansas
 

Stanley Rice
 

San Francisco, California
 

Anders Shafer
 

St. Paul, Minnesota
 

Michael Taylor
 

Hanover, New Hampshire
 

George Teter
 

Milwaukee, Wisconsin
 

Martin Worman
 

Paterson, New Jersey
 

IN MUSIC ­

Recipient
 

Maria I. Arroyo
 

Santurce, Puerto Rico
 

James P. Atherton
 

Montgomery, Alabama
 

Sam Bailey
 

Marks, Mississippi
 

Alan Baiter
 

Roslyn Heights, New York
 

Wilhelmine Bennett
 

Chicago, Illinois
 

University of Montana
 

Missoula, Montana
 

Columbia University
 

New York, New York
 

Idaho State University
 

Pocatello, Idaho
 

University of Virginia
 

Charlottesville, Virginia
 

University of Chicago
 

Chicago, lllinois
 

San Francisco State College
 

San Francisco, California
 

Sta~e University of Iowa
 

lowa City, lowa
 

Dartmouth College
 

Hanover, New Hampshire
 

Harvard University
 

Cambridge, Massachusetts
 

Rutgers, The State University
 

New Brunswick, New Jersey
 

School Affiliation
 

University of Puerto Rico
 

San Juan, Puerto Rico
 

Peabody Conservatory
 

Baltimore, Maryland
 

University of Mississippi
 

University, Mississippi
 

Oberlin Conservatory of Music
 

Oberlin, Ohio
 

Northwestern University
 

Evanston, Illinois
 

- 99­
Jerry Max Call
 

Salt Lake City, Utah
 

Nancy Gay Coles
 

Gainesville, Florida
 

Langston Fitzgerald
 

Washington, D.C.
 

Remi Ghilespi
 

Fort Worth, Texas
 

Dennis Helmrich
 

Califon, New Jersey
 

Sheila Hittle
 

Seattle, Washington
 

Alan Hoffman
 

Granby, Connecticut
 

Rudolph W. Kompanek
 

Cumberland, Maryland
 

Catharina Meints
 

Hinsdale, Illinois
 

Elizabeth S. Moschetti
 

Boulder, Colorado
 

William P. Mullen
 

Champaign, Illinois
 

Ruth Elaine Neugebauer
 

Parkston, South Dakota
 

Michael Riley
 

Columbus, Kansas
 

H. Kenneth Smith
 

Chapel Hill, North Carolina
 

Frank Wasko
 

Lincoln, Nebraska
 

Donald Weilerstein
 

Berkeley, California
 

Philip Werren
 

Madison, Wisconsin
 

University of Utah
 

Salt Lake City, Utah
 

Louisian~ State University
 

Baton Rouge, Louisiana
 

Howard University
 

Washington, D.C.
 

North Texas State University
 

Denton, Texas
 

Yale University
 

New Haven, Connecticut
 

University of Washington
 

Seattle, Washington
 

University of Hartford
 

West Hartford, Connecticut
 

West Virginia. University
 

Morgantown, West Virginia
 

Eastman School of Music
 

Rochester, New York
 

University of Colorado
 

Boulder, Colorado
 

University of Illinois
 

Urbana, Illinois
 

University of South Dakota
 

Vermillion, South Dakota
 

University of Kansas
 

Lawrence, Kansas
 

University of North Carolina
 

Chapel Hill, North Carolina
 

University of Nebraska
 

Lincoln, Nebraska
 

Juilliard School of Music
 

New York, New York
 

Princeton University
 

Princeton, New Jersey
 

- I00­
Jack Langston Williams
 

Lancaster, South Carolina
 

Lynette C. Yanagi
 

Honolulu, Hawaii
 

Emmett Gene Yoshioka
 

Gardena, California
 

University of Georgia
 

Athens, Georgia
 

University of Hawaii
 

Honolulu, Hawaii
 

University of Southern California
 

Los Angeles, California
 

- i01 ­
FINANCIAL REPORT FOR FISCAl, YEAR 1966
 

Receipts
 

Appropriated for Fiscal 1966
 $ 2,500,000.00


Unrestricted Gifts to the Endowment
 34,308.23


$ 2,534,308.23’
 

Grants Approved
 

/~Academyof American Poets $ 46,747.00/’­

u/~nerican Ballet Theatre" I00,000.00 :
 

American Conservatory Thea1:re~° 160,000.00
 

American National Theatre and Academy 3D, 000.00
 

40,000.00 w~ "
 American P.E.N. 4.
 

American Symphony Orchestra League
 33,575.00 ~


Artists Housing Project ~
 i00,000.00


5,000.00~/
 Capitol Ballet Guild L
 

Indivfdual Grants to Choreographers 103,000. O0
 

Conference of American Dance Companies
 5,000.00 -~


Graduation Awards ~ 77,000.00
 

~nstitute of American Indian Arts / 29,000.00  ̄
 

L~M~rtha Graham National Tour w
 142,250. O0


Metropolitan Museum of Art 25,000.00 "
 

Stanford Research Institute
 91,000. O0
 

Teaching Artists Program ~- 372,500. O0
 

Venice Biennale/
 38,000. O0


$ 1,398,072.00
 

Funds Committed
 

/American Ballet Theatre
 $ 25o 000.00


American Educational Theatre Assoclatlon~
 7 000.00


_~Composers Assistance Program~ 150 000.00
 

Laboratory Theatre Project 33o,00o.00
 

k~Natlonal Repertory Theatre
 75,o00.00


~N~w York Shakespeare Festival I00,000.00
 

Playwrights Experimental Theatre 175,,000.00
 

$ I~087,000.00
 

2,485~072.00
 

- 102­
- 103­