National Endowment for the Arts 

National Council on the Arts 
NATIONAL ENDOWMENT FOR THE ARTS
 

AND
 

NATIONAL COUNCIL ON THE ARTS
 

Annual Report for the Fiscal Year Ended June 30, 1968 

For sale by the Superintendent of Documents, U.S. Government Printing Office
 

Washington, D.C. 20402 - Price 40 cents
 
Letter o[ Transmittal 

Wasl~ington, D.C. 

January 15~ 1969 

I h~w the honor to submi~ herewi~th tl~e armual repor~ of the 

N~tion~l Endowment for the Arts und the Na.tion~l Couneil on the 

Arts for the fiscal ye~r ended June 30, 1968. 

Respee~fu]ly, 

Ro~~R I~. Sa~v~~s, ~hc~irman, 

NaCional Ændo~men~ for ~he Ar~s. 

The
 

The White I-Iouse.
 

III 
TABLE OF CONTENTS 

The Chairman’s Statement .............. 1
 

Highlights of Fiscal 1968 ............
 7
 

The Natioaal Council or~ the Arts_ 11
 

The National Endowment for the Arts___ 15
 

Authorization and Appropriations___ 16
 

The Unrestricted Gift Fund ....
 19
 

Staff .............................
 20
 

National Endowmer~t for the Arts Program Activities ......... 21
 

~ederal-State 1)artnership 1)rogram .... 23
 

Architecture, l~lanning and Design .... 24
 

Dance ...............................
 26
 

Education ..................
 30
 

Literature ..........................................
 33
 

Music ......................
 40
 

Public Media ......................................
 45
 

Theatre ..........................
 48
 

Variety of Art Forms ................. 54
 

Visual Arts .......................
 55
 

Financial Report for Fiscal Year 1968_ 63
 

Appendix:
 

Grants and Contracts Awarded, by Art l%rm, in Fiscal
 

1968 .............................................
 67
 

Individual Gran~ees ................................. 73
 

Organizatiort Chart, National Foundation on the Arts and the
 

Humanities ................... 77
 

v 
THE CHAIRMAN’S STATEMENT 

S ool,~ we shall have a new Administration, and while this report covers
 

.the period of July 1, 1967, through June 30, 1968, .these remarks
 

are being written in Hovember of 1968.
 

time of continuity, certainly a moment of historical significante.
 

For the 

time to celebrate the works of man’s creation as well as lament the 

ever-increasing eeonomic dilemma. The only true way to describe the 

ar~isgie moment, ir you will, is to say ir is paradoxical. 

For example, I h~ve just read ah interview with the distinguished 

Bri,tish author, Anthony Burgess. He is leaving England to live on 

Malta because, he claims, his country neither appreciates the argist 

today, nor enables him to make or ret~in enough money .to live a deeent 

life. (He ~lso notes in p~ssing that in France writers are better off 

because the Governmen.t gives every author 50 percen.t of bis e~rnings 

tax-free.) 

These ate Mr. Burgess’ opinions, not mine, and I do nog wish to be 

dr~wn in.to any in.ternecine Europe-versus-America cul.tural debate. 

Tha[ eritieal field seems .to be suiticiently staffed with e~ger experts. 

But I would like to be somewhat chauvinistie, momentarily, in praise 

of the ar~s in America. At one point in his interview, Mr. Burgess 

asserts: 

«The new s.tuff [in the arts] is not coming out of Engl~nd, the new 

novels are not coming out of England, the new poetry is not coming 

out of England, it;s coming out of Americu. The English language 

has abdic~ted and gone over to America, for good." 

Let me add .that, in the opinion of many, myself included, the 

Uni.ted States is today the visual arfs center of the world, and hTew 

York is its capital (wi.th ~ wary eye on the recent burst of activi.ty on 

the West 

The American thea~re of 1968 is defying all those critics who have 

been procluiming its death for years, circling about the fringes in 

gleeful deathwa~ch. A play nursed along and fussed over for two years 

in Washing~~on at Arena Stage is today one of Broadway~s biggest 

hits. Another produced in the Massachusetts coun.tryside l~st summer 

recently opened to some critical acclaim at Lincoln Ceater. A workshop 

experiment spawned in the Watts area o~ Los Angeles soon opens 

1 
off-Broadway, which thése days draws as much attention as, ir not more 

than, Broadway itself. And the Endowment has had a hand in the 

deve]opment of ’all of the above projects. 

I)uring the past three years, the National Endowment for the AI~s 

has made individual and matching grants in every arca of the United 

States, in every fie]d of the creative, visual, and performing arts. I 

must say that we ate especiully proud of our grants to America?s 

creative talents, which huye resulted from the National Council on the 

Art2 deep commitment to providing assistance directly to the individual artist. 

We ~re espeei~lly proud, also, oí having bee, n the moving force in 

creating The American Film Institute which, under the imaginative 

]eadership of George Stevens, Jr., portends to be a major influencc 

upon the future of filmmaking in America. 

Let me point with some pride to just one other project of the Arts 

Endowment, the Laboratory Theatre for Education. 

This program, underta~en with the cooper~tion of the U.S. Office 

of Education and the participation of local school boards, assists professional thea~re companies on a pilot basis in three ci.ties--New 0r­

]eans, Louisiana; Providence, Rhode Island; and Los Angeles, California. The purpose ~~as to create higMy professional theatre companies to provide free performances for school audiences, play before 

the general publicat reasonable ra~es, and develop techniques to improve the instruction of drama~ic literature in secondary schools. 

The essential aim of the progTam was ~o provide quality theatre on 

a regular basis to young people who rarely, ir ever, had had ~he opportunity to attend the theatre. This was aimed not only at enhancing 

their education, but a]so at he]ping to crease future audiences for 

the theatre--which cannot survive without the~n. 

The program a]so, not incidentally, provided ~obs for actors, 80 percent of whom are out of work a£ a.ny given time, according to Ac~ors’ 

Equity. 

Each of these projects, ~vhile encountering bir~h pangs and more 

than its share of problems, has been highly successful. So much so, in 

fact, that only this past summer, when increased rent and other costs 

made it appear fora time .that the third season in New Orleans might 

have to be postponed, hundreds of boys and girls, who had been a part 

of the program, went out on their own and collected three thousand 

dollars in niekels, dimes, and guarters which they turned over to their 

Mayor, pleading with him to continue the theatre program. 

That kind of support, especially coming from those young people 

who responded so enthusiastically to the experience of quality theatre, 

makes the Endowment’s few years of existence eminently worthwhile. Even more, it proves to me, and I hope to many others, including some of those who may at first have had their doubts about Federal 

support for the arts, that the work of the National Endowment for 

2 
the Arts~ and the men and women who serve as its advisory body~ the 

26 members of the h~ational Council on the Arts~ must be carried on 

and expanded ir the arts are to survive and prosper~ as we believe they 

must ir we are ,to improve the quality of American society. 

But let us face the brutal facts--the arts are in serious econvmic 

troub]e. The plight of the performing arts espeeially has been well 

documented~ and the «income gap" is an ever-increasing 

But we seem to be doing very little about it~ aside from duti~ully lamentingthe sad state of affairs, on an annual basis. 

The cynics refuse to face these facts~ and ther6 are those 

course~ who never have had and never will have any us6 for the arts. 

Others cite one book so]d to the films for $500,000, or an actor who 

made about $4 million last year~ or a director who~ through a 10ercentage arrangement~ stands to make possibly $I0 milli.on from one film 

alone. How~ they ask~ can you expect us to provide public funds for 

the arts when this kind of thing goes on .~ 

WelI~ I ask you to look a litt]e deeper. The rich artist~ as anyone 

works professiona]ly in the arts well knows~ is the great exception to 

the ru]e. Most artists do not live well, and MI ~too many of ~hem live 

below subsistence leve]. 

Over the next years~ we must m~ke a major national effort to increase public and private assistance for the arts. We must~ as I continually have said~ develop new sources of fmance. But, at the same 

time~ we must increase the amount .of Federal assistance to stimulate 

other sources of support. We have already proved this will work, 

cause we have estimated that the fiscal 1968 $8.6 million Federal investment in support of the arts from the l~ation~l Endowment for the 

Arts brought over $27 million into Endowment-supported programs 

and projects from other sources. 

I say this to again point up the desperate need to increase this support. We have made a good beginning~ but enormous work is still 

ahead. I believe the American public is coming to realize the need for 

additional Federal assistance for the arts~ because wherever I h~ve 

traveled in these last three years, and that includes almost every part 

of the United States~ our p6ople keep asking me why there isn’t greater 

assistance available for the arts. 

The answer to this question is neither encouraging nor complicated. I)ue to our limited funds~ ,ther6 are many projects of great 

merit which we are unab]e to assist; ~or example~ we have asa matter 

of po]icy been unable to make funds available for construction or rehabilítation of faci]ities. Also~ in any ]ong-range planning for the improvement of the arts~ education clearly must p]aya most important 

tole; unfortunately~ once more b6cause of limited funds~ we are unab]e 

to participase in numerous d~irab]e programs in art education. 

329-564--69--2 
Another problem imposed by our limited budget is the fact that we 

can rurely assist worthwhile arts organizutions with their annual 

deficits. Thus, except for minimal aid provided under our composer 

assistance program, we huye not made grants t.o symphony orchestras 

despite their desperate need for support. With the orchestras’ total 

yearly deficit many times our total ’budget, one can easily see that ir 

is impossible for us to be of any substuntiul assistance to the orchestras. 

Even ah attempt to comply with a request of the President at the 

signing of the Arts and Humanities bill to "support a Nationul Opera 

Company," proved too expensive for the Arts Endowment, which 

uttempted to replace the Metropolitan Opera’s National Company 

when this was dropped due to its umnanugeable deficit. 

I should further like to point out to anyvne reviewing our grants 

thut many of the larger ones were mude possible by private gifts to 

the Endowment, matched by the Endowment’s "gift fund," and then 

mude available to our gruntees. 

We often hear about the "cultural explosion" or the American Renaissance. I have used these phrases myself. But, in reflectivn, after 

this first experience with Federal assistance to the arts on a national 

basis~ what I believe we need is neither un "explosion" nor a renaissance. Ah explosion implies quick and destructive revolution~ and that 

I do not favor. A renaissance means "rebirth," und that ruther misses 

the point. (Rebirth of what, the Hudson River School of puinting, or 

silent motion pictures ~. ) 

Ruther, I think we need, us a society, ah artistic revolution and 

regenerution, but not so quietly nor so slowly us in the past. We must 

be able to give our talented young people the encouragement and 

the means to enter the artistic life. Slowly but inexorably~ the arts must 

become part of our duily lives. The desir% even the demand, is there. 

I huve seen ir in children~s eyes, in a man’s work of massive sculpture 

und in a womaffs company of dancers. I have heard it in bright questions posed by students to estublished writers, and I huye read ir in 

the many pleading letters that huye crossed my desk these p~st severul 

yeurs. 

And I remember hearing ir in the voice of John F. Kennedy, five 

years ago, less than a month before his assussination, in un address he 

delivered at Amherst College. 

"I look forward to u greut future for America," he said, "... ah 

America which will not be afraid of grace and beauty... (und) which 

will rew~rd achievement in the arts us well as we reward achievement 

in business and statecruft." 

Two years later~ us he signed the bill establishing the lgational 

F.oundation on the Arts ~nd the Humanities (September 29, 1965), 

President Lyndon B. Jolmson reminded us: 

4 
"In the long history of man, countless empires and nations h~ve 

come ~nd gene. Those which created no l~sting works of art are reduced 

to short footnotes in history’s catalogue. Art is a nation’s most precious 

heritage, l~’or it is in our works of art that we reveal to ourselves, and 

to others, the inner vision which guides us ~s ~ nation." 

And let me s~y once again that I believe President Johnson has done 

more for the arts than any other President in the history of.the United 

States. 

The list of programs which follows covers only one yeur of our 

activities. With grest regret, we were forced to turn down many most 

:_ wor~hy projects, to set aside m~ny of the individual grants recom­

". mended to us by our several p~nels of advisory experts. 5Tevertheless, 

-- I submit the list of those activities we did support, on behalf of the 

distinguished members of the l~ational Council on the Arts, with some 

pride of achievement. I believe they speak well for themselves. 

Finally, let me s~y a word about the Arts Endowment staff. They 

work long, hurd hours. Many of them travel around the country on 

exhausting schedules so that they may keep abreast of artistic events 

and developments in every p~rt of the United States. They are few 

in number but highly professional, and roe often they receive little 

publie credit. Let me take this occasion to th~nk them for their dedieated efforts to make vur programs imaginative, innovative, and 

intelligent. Our success is their success. 

HIGHLIGHTS OF FISCAL 1968
 

T~E TW~~V~ ~o~rT~S between June 30, 1967, and June 30, 1968, were extremely eventful ones for the National Endowment for the Arts 

and ~the Nation,al Council on the Arts. In its seeond ful] year of operatlon, the Endowment made grants ~o 187 individuals and 276 organiza­

.tions fora ,total :Federal investment of $8.6 million; this $8.6 million 

in Endowmen~ moneys stimulated over $27 million from other resources in fiscal 1968 alone, ,thus proving the thesis ,that the Endowment can be a powerful force in opening vast new areas of support 

for .~he arts in America. 

Ir was not all smoo~h sailing for the Endowment that year : :Fiscal 

1968 was ~he last fiscal year for which the Congress had authorized 

program funds, .and early in .the year efforts began to obtain legisla~ion 

which would authorize .the continuance and expansion of .the resources 

awil.able ,to the Endowment for assistance to artists and arts 

o.rganizations. 

This new legislation, H.R. 11308 (after signature by the President,
 

Public Law 90-348), ini,tially passed the House of Representatives on
 

February 27, 1968, wi’th some amendments, and the Senate on May 7,
 

with additional changes. The Conference Report, settling the differences between the House- and Senate-passed versions of tI.R. 11308,
 

was approved by the Senate on May 29 and the Itouse on June 5, 1968.
 

Although the funds finally authorized for programs ,and for the
 

States (for fiscal 1969 and 1970) under this new législation were only
 

one-four~h the amount recommended by the House Committee on Education and Labor, nonetheless the Endowment had received Congressional approval to continue its important work, including its programs
 

of direct assistance to ,artists of exceptional talent.
 

Page 17 of this report gives .the authorization and appropriation 

figures (the latter being the funds actually available to the Endowment) which resulted from the Congressional aetions. 

Meanwhile, the aetivities of ~he Kational Council on the Arts and 

the N.abional Endowment for the Arts, as well ~s of the many panels 

of arts experts from all across the country drawn up to assist the 

Endowment, were continuing unaba~ed despite the financial uncer7 
,tainties. Fiscal 1968 saw several outstanding undertakings brought to 

fruition, some of which will be mentioned here, and all of wtñch aro 

detailed in this report. The creation of The American Flm Instituto, 

dealt with in more detail on pago 44 of this report, culminated over a 

year of difficult and concentrated work on the part of many people: 

A~ts Council members~ a special Advisory Council composed of distinguis~ed members of the film world~ the Stanford Research Instituto 

team which had conducted a survey leading to the Inst~.tute’s establishment, Endowmen.t staff, and the Ford Founda~ion .and the Motion 

Picture Association of America, both of which provided funds to 

assist the Endowment in setting up .the Instituto. 

Fiscal 1968 also saw the launching of ~he firs~ nacional artists’ housing center in the United States~ through ah Endowment matching 

grant enabling The J. M. Kaplan Fund~ Inc., to set up the nonprofit 

Westlmth Corpora~ion wkich purchased .~he old Bell Telephone Loboratories on Iqew York City~s lower West Sido for renovation into 

artists’ studio-living quarters. In addition .to the 384 unías ranging 

from efficiency ,to three-bedroom apartments, other facilities will include a theatre~ film studios, darkrooms~ rehearsal rooms~ sculpture 

gardens, exhibition galleries, soundproof studios~ projection rooms~ 

and various community facilities. This project~ the resul,t of many 

months of caxeful and complex negotiativn~ marked a high point in 

cooperation be~ween private resources, .the Federal Government~ and 

municipal authorities, and is described further on pago 25 of this 

report. 

The Ameriean Ziterary Anthology/l, product of an early Council 

proposal to create an «nnual an, thology of the best writing from 

America~s small literary magazines~ was published by Farrar~ Straus 

& Giroux and released in June of 1968. This first volume was extremely 

well reviewed~ and public~tion of the second volume~ this t~me by 

Random ttouse, is already underway. Pago 33 of this relort includes 

a more deta�led description of this p~ojec~. 

Beginning a new partnership between l~abor unions, community 

arts organiza~ions~ ~nd the Federal Governmen% the Endowment 

provided funds to the newly-formed AFL-CIO Council for Scientific, 

Profession.al~ and Cultural Employees (SPACE) .to develop arts 

demons,tration projects in four major American ci.ties. The Endowment hopes that thís projec~ will draw increasing numbers of Ameri­

~ans into enj,oymen.t of and involvement in the ~rts. 

Finally, towards the end of fiscal 1968, as the result of a major fundraising effort, 16 of .the Nation’s larges,t cities matched on a two-forone basis Arts Endowment funds en~bling them to provide inner 

city arts programs during .the summer of 1968. The Endowment, in 

cooperation with the President’s Councál on Youth Oppor~unity, was 

proud to pl.ay a part in drawing into active partioip~ti.on thousands 

| 

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8 
of America’s inner city residents who were involved in numerous arts 

activ~ties and workshops, many for the first time. Thi.s program, 

described more fully on page 54 of this report, further evidenced the 

A’rts Council’s and Endowment’s belief that the arts must no~ be the 

, 

possession of the wealthy alone~ but must reach in~o and enrich the 

lives of all Amerieans. 

~ 

~ 

Thus, another year of activity has ended, marked by exciting new 

accomplishments, and providing further evidence that Federal Government participation in the cultural lif~ of the Nation is proving a 

creative and constructive contribution to America’s artistic develop­ ’i 

THE NATIONAL COUNCIL OF THE ARTS 

TH~ NATIONAL COUNCIL ON TItE ARTS is composed of the Chairman 

~-o~ the Nutional Endowment ~or the Arts, who serves as Chairman 

o~ ~he Council, and ~6 private citizens appointed by the President who 

are widely reeognized for th~ir knowledge of, experience, and interest 

in the arts. The Council, which was originMly established by l~w in 

1964 os an ~dvisory body to the President and the Congress of the 

United States, bec~me the Advisory Couneil to the ChMrman of the 

Na, tional Endowment for the Arts when the lat.ter agency was established by the Nation~l Foundation on the Arts and the Humanities 

Act of 1965. 

The Council, which met form~,]ly three times du~ing fiscal 1968, 

makes recommenda, tions on w.ays ~ mMntain gnd increase Americ~?s 

cultural resources and reviews and makes recommend~tions on ~pplications for fin~ncial assistance made to the Endowmen.t. Working in 

close coopera~ion with the ChMr.man of the Endowment, the members 

of the Nation~l Council on the Ar~s h~ve been e~raordinarily dedicated «nd creative in stimu]ating, encouraging, and developing the 

progr~ms whieh h~ve been implemented by the N~,ti.onal Endowment 

for the Arts. 

The Couneil suffered a profound loss when member René d’I-Iarnoncourt, Director of the Museum of Modern Art in New York, was 

struck and killed b.y an automobile on August 13, 1968. 

329-564--69--3 


-!
 

11 
Members o[ the National Council on the Arts aso] November, 1968 

With T~rms Expiring in ~970 

ALRERT BUSH-BRowN IS~AC STERN 

President, ~~ncert Fiolini~t 

Rhode Island School of Design 

GEORGE STEVENS, St. 

PAUL ENOLE Motion Picture Director 

Poet 

MINORU ~AMASAKI 

R. PHILIP HANES, Jr. Aíchitect 

Fo~mer President of A.G.A. 

OLIVER SMITH 

Theatrica~ Des~gner 

With T~rms Expiring in 1972 

I~ARIAN ÆNDERSON HARPER LEE 

Concert Artist Author 

RICHARD (~. DIEBENKORN, ~r. ~IMILU ]~_ASON 

Pai~ter Scu~tor 

~WRENCE HALPRIN SIDNEY POITIER 

Landscape Architect Actor 

HELEN HAYAS DONA~D WEISMANN 

Actress University Pro~essor and 

OHARLTON HESTON N~NCY WHITE 

Actor ang Prod~cer Editor-in-~hie~, 

President, Screen Actors Guild Harper’s Bazaar 

With Terms Expiring in 1974 

JEAN DALRYMPLE I~0BERT MERRILL 

Director, Gity Center Light Opera an~ Metropo~itan Opera Singer 

Drama Gompanies 

GREGORY PECK 

DUKE ELLINGTON Actor ang Prodtleer 

Bang~eager ang Composer 

RU~OLF SERK~~ 

O’NE~L FORD ~o~cert Piani~t 

Arehiteet 

EDWARD VILLELLA 

RICHARD HUNT Dancer 

Seulptor 
Former Members 

ANTHONy BLISS (1~~) ELIZ~H ASHLEY PEPP~D (196~)

DA~D BRINKLEY (1’~5) WIL~A~ L. PEREIRA (1965-68) AGNES DE MI~E (19~66) RICHARD RO~~S (1~~8)
 RENÉ D’HARNONCOURT (196~68)
 D~v~ S~~~ (1~5) RA~H E~~so~ (1~~6) JOH~ STEINBECK (1~)
 

REVEREND GILBERT HARTKE, O.P.
 JAMES JOHNSO~ SW~N~ (196~) 

(1~~) OTTO WITT~ANN 

ELEANOR LAMBERT (19~6) 

Meetings o] the National Council on the Arts Through Fiscal 1968 

11th .......... Apr. 19-21, 1968 ..............
 Tarrytown, N.Y. 1Oth ...............
 Nov. 3-4, 1967 ...... Washington, D.C. 9th ............... J~uly 17, 1967 ................
 Los Angeles, Calif. 8th ............... May 12-14, 1967 ..............
 Tarrytown, N.Y. 7th ...... Dec. 14-15, 1966 ..............
 Washington, D.C. 6~h ............... Aug. 26-27, 1966 .............
 W~slxing~n, D.C. 5fin ............... May 13-1~, 1966 ............
 Tarrytown, N.Y. 4th ..... Feb. 11-12, 1966 .............. Wa, s~~~gton, D.C.
 3d .................
 Nov. 18-15, 1965 ..............
 Tar.rytown, N.Y. 2d ................
 June 24-27, 1965 ............
 Tarrytown, ~N.Y. 

The first meeting of .the ~ation.al Council on the Ar.ts was held in 

Wash~ington, D.C., on April 9 and 10, 1965. It was preceded by a

ceremony in the Cabinot Room of the White House on April 9, dur’íng 

which the members of the Council took the oa,~h of office. 

I 

13 

 

THE NATIONAL ENDOWMENT FOR THE ARTS 

TH~ Na’rmaraL END0W~[ENT VOR TI=IE AltTS. estabhshe 

~-1965 as one of the component organizations of the Nation~al Foun- ~, " d at the end of

dation on the Arts and the Humanities, is an agency of the Federal 

Government, advised by the National Council on the Arts~ and created 

by Congress to 1)romote the progress of the arts in the United States. 

Employing about 35 staff members~ the National Endowment for 

the Arts carries out a program of grants-in-aid to individuals, nonprofit, tax-exempt organizations, and o~cial State arts agencies 

throughout the Nation in an attempt to nourish and strengthen 

A1)]erica~s cultural resources. 

Aware of the scoi)e and magnitude of the task before them, the 

National Endowment for the Arts aud the National Council on the 

Arts call upon the additional knowledge and recommendations of 

ontside panels of arts experts representative of divergent points of 

view and all geographic areas across the country. These panels have 

been extremely hard-working and conscientious and hax,e provided 

inraluab]e advice and assistance to the Council and Endowmeut; in 

addition, use of these loanels has strengthened the bonds between the 

private sector and the Federal Government, enabling them to work 

together for ~he first ’time in the Nation’s history for the benefi~ of 

America’s artists. 



THE GIFT FUND
 

The National Foundation on t’he Arts and the Humanities Aet of 

1965 authorized $2.25 million annua]ly to match ~mrestricted donations -­

.to the National Endowment for the Arts in fiscal years 1966-68. For 

fiscal 1968, Congress appropriated up to a total of $1 million for both 

the Arts and the Itumanities Endowments* from this special Treasury 

fund, contingent upon receipt of unrestrieted donations. 

The Congress inserted this gift fund provision to stimulate private 

giving to the ar~s by enabling the Endowment to match each private 

dollar with a Federal dollar, and make .these "doubled" moneys available to arts organizations to again be matched by non-Federal funds. 

In fiscal 1968, and despite the reluctance of the private sector to gire 

money to the Federal Government without any control over the ultimate use of the funds, the National Endow.rnent for the Arts received 

116 donations totaling $674,291, freeing ah equal amount from the | 

special Treasury fund. A good example of the results made possible 

by this íund was the Endowment’s inner city arts program. Two 

hundred ~housand dollars was made available by private donations 

to .the Endowment~ the Treasury fund matehed this with another 

$200,000; and ~his $400,000 was mate’hed by 16 cities on a two-for-one 

basis, thus making $1.~ million available for arts programs from a ’ 

$200,000 Federal investmen~. 

The end of fiscal 1968 also saw a ehange in the legislative provisions 

for .the gift fund. Publie Law 90-348, signed by the President on 

June 18, 1968, now authorizes the Endmvment to reeeive and mateh 

from the Treasury rest~4cted os unrestri~ted donations, subjee~ ~o 

prior reeommendation from the Couneil on aeeeptanee of eaeh donation. Ir is hoped .that this will greatly inerease the number and amount 

of ~he gifts to the Endowment from the private sector whieh will now 

be able to speeify the use to whieh it wishes its donations applied. 

*See organization chart, back page, 

329-564-- 69-----4 19 
 

NATIONAL ENDOW-MENT FOR THE ARTS STAFF*
 

Chairman ...................................... Roger I. St6vens
 

Deputy Chairman** .......................... Douglas G. MacAgy
 

Specia] Assistant to the Chairman ..... Frank Crowther
 

Director of Planning and Analysis Charles C. Mark
 

Director, Office of State and
 

Community 0perations .... Clark Mitze
 

Assistant to the Director, 0ffic~ of
 

State and Community 0perations ............. Leonard Randolph
 

Secretary to the National Council on the Arts ......... Luna Diamond
 ~ 

Program Director for Architecture, Planning 

and Design .................................... Paul Spreiregen
 

Program Director for Dance ............................ June Arey
 

Program Director for Education and Public Media .... David Stewart
 

Program Director for Literature ................... Carolyn Kizer
 

Program Director for Music___ Walter F. Anderson
 

Program Director ~or Theatre. Ruth Mayleas
 

Program Director for Visual Arts__ Henry Geldzahler
 

Assistant for Visual Arts ........................... Starke Meyer
 

Project Coordinator (Grants Office) _Aida Schoenfeld
 

I-Iead, Special Research Projects ......
 Ana Steele 

General Counse], National Foundation on the
 

Arts and the Humanities ................. Charles B. Ruttenberg
 

Director of Administration, National Foundation
 

on the Arts and the Humanities__ Paul P. Berean
 

Personnel Officer, National Foundation on
 

the Arts and the Humanities _Robert K. Johnson
 

Financial Manager, National Foundation on the
 

Arts and the Humanities__
 Joyce Freeland 

*As of November 1968 rather than fiscal year 1968.

**Mr. Willtam B. Cannon served as Deputy Chairman unttl August 1968. 

~0 
NATIONAL ENDOWMENT FOR THE ARTS
 

PROGRAM ACTIVITIES
 

FEDERAL-STATE PARTNERSHIP PROGRAM 

One exciting development in the few years of existence of the 

N~tional Endowment f.or the Arts has .been the birth ~nd growth 

of the State arts councils movement. In 1967, a $2 million ~ppropri~­

tion from the N~tional Endowment for the Arts to the S~s~~es was 

responsible for the creation of mos~ .of these Store ~rts ~gencies, 

and provided an impe~us for State legis]atures to appropriate over 

$3.7 million to their respeetive new .ageneies. The Federal appropriation in fiscal 1968 of $2 million ~lloc~ted a lnaximum of $39,383 

to each of the ~pplying State councils; Store legislatures more th~n 

m~tched these fiscal 1968 funds by ~ppropri~ting $5.3 million--~n 

incre~se of 43 percent from the 1967 $3.7 million State legislatures’ 

~ppropriations. In ~ddition ~o the funds made available from the 

St~tes’ legislatures, many of the S.tate agencies have ~lso stimulated 

~nd utilized subst,~nti~l funds from private sources as well. Thus, 

the resultant public and private support gener~~d by this program 

reveals its grassroots popularity, and the tremendous potential that 

can be re~lized from gre~ter Federal appropriations. 

The projects under this Feder~l-State partnership involve ~11 art 

forros with p~rticul~r stress on the performing arts. A major emphasis is placed upon performances and exhibitions in sm~ller communitíes of the States, thereby giving people who have not had the 

opportunity ~ chance to p~rticipate in the arts. 

FifCy-three of .the fifty-five St~tes ~nd speci~l politic~l ~urisdictions* now have active arts counei]s. In fiscal year 1968, 46 of these 

agencies received State appropri~tious, ~nd in fiscal ye~r 1969 the 

number ~vill be ~9. These increased figures emphasize not only ~n 

,~w~reness and interest in .~he arts but ~lso a growing understanding 

.of ~he necessity for fin~nci~l support of the arts by the St~te 

governments. 

The fo]lowing is a breakdown of the Endowment’s grants .to St,ñte 

arts agencies in fiscal 1968 : 

Alabama $39, 383 Connecticut $39, 383 

Alaska 39, 383 District of Columbia 39, 383 

Arizona 39, 383 Florida ...................... 39, 383 

Arkansas 39, 383 Georgia 8, 800 

California 

Colorado 

39,383 

39,383 

Guam 

Hawaii 

39, 383 

39,383 

*The tire special political jurisdictions ate American Samoa, District of Columbia, Guam, Puerto Rico, and the ¥irgin Islands. 

~3 
 

illinois .....................
 $39, 383 North Dakota__. $13, 175
 Iowa .......................
 39, 383 Ohio .......................
 39, 383
 Kansas .....................
 39, 383 Oklahoma ........
 39, 383
 Kentucky ................... 39, 383 0regon 39, 383
 

Louisiana 39, 383 Pennsylvania
 39, 383
 Maine ......................
 39, 383 Puerto Rico ......
 39, 383
 Maryland ................... 39, 383 Rhode Island
 89, 383
 Massachusetts 39, 383 South Carolina ................
 24, 500
 Michigan ................... 39, 383 South Dakota ................
 10, 000 Minnesota 39, 383 Tennessee ...................
 39, 383
 Mississippi .................
 39, 383 Texas ......................
 39, 383
 Missouri ....................
 39, 3831 Utah .......................
 39, 383
 Montana ....................
 39, 383 Yermont ....................
 39, 383
 Nebraska ................... 35, 000 Virgin Islands___
 39, 383
 Nevada ..................... $19, 453 Virginia
 39, 383
 New ttampshire 39, 383 Washington .................
 39, 383
 New Jersey ..................
 39, 383 West Virginia ............... 39, 383
 New Mexico .................
 39, 383 Wisconsin ..................
 39, 278
 New York ................... 39, 383 Wyoming
 39, 383
 North Carolina__. 39, 383
 

ARCHITECTURE, PLANNING, AND DESIGN 

America the Beauti]ul Fund--Design Internships $12, {DO This sum was recommended by the National Council on the Arts as 

a suppl~ment to the fiscal 1967 $30,000 grant utilized by this organization to enable young proíessionM designers to work on various design 

projects t’hroughout the Un~ited States. Approximately 38 projects 

were financed through the initial grant, with great success, and this 

additional ~mount supported 10 more projects. They ranged from the 

restoration of a hurricane-devastated co~stal ~own in Louisiana to a 

regional landscape design to preserve a valley which is being impacted 

by urban gTowth in Marin County, California. 

The Common Ground of the Arts ............................ $13, 800
 

The Detroit Common Ground is a multi-studio art center where
 

architecture, urban design, painting, sculpture, photography, printmuking, and other arts and crafts are brought together in a common
 

focus, Vhe purpose of which is to work for the enhancement of the
 

visual environment la the Americar~ city. The Endowment’s funds
 

cover operating expenses over a three-year period.
 

Hawaii State Foundation on Culture and the Arts ............ ~$38, 250
 

 ̄ he State ~~ ttawaii, one of the world’s most ’be~utiful natural
 

environments, is suffering mounting destructive pressures due to its
 

enormous economic growth. This growth, in all its forms, is a threat
 

 ̄ This was the balance of grants totaling $50,850 awarded to ttawait for the purposes
 described.
 

~4 
to the natural beauty of the land, much of which is without counterpart anywhere in the world. The National Council on the Arts, desirous of preventing needless despoliation of natural assets, and concerned with Vhe quality of design in new developments, provided funds 

to Vhe Hawaii State Foundation on Culture and the Arts fora series 

of pro~otyl~ desiga studies to ~ddress the most critical design problems. These studies involve local people of diverse talents, designers, 

officials, developers, und citizens. 

The design studies inc]ude the Honolulu waterfront on *he Island 

of Oahu; the Poipu beaeh ~rea on Kauai; the Kihei-Makena tourist 

arca on Maui; the old whaling town of L~haina on Muui; a furm town 

called Wailuku on Maui; the desiga of a scenic road on the Kona coa~t 

of the Island of H~w~ii; and the design of ’a eritical portion of the 

town of Hilo. The projects ’have met with some success, but Hawaii’s 

desiga problems will never~heless continue and will require continuous 

attention. 

The ]. M. Kaplan Fund, Inc.mArtists’ Housing Center ........ $750, 000
 

A projeet originally recommended at the first meeting of the National Council on bhe Arts (April 1965) was finally launched with 

a $750,000 ma~ching grant enabling The J. M. K~plan Fund to set up 

the nonprofit WestbeVh Corporation, ~vhich purchased the old Bell 

Telep’hone La’bor~tories oa New York City~s lower West Side. Endowment ftmds, joined with those of the Kaplan Fuad, as well as Federal 

Housing Administration fmancing and other priwte funds, will permit the conversion of these properties into excellent studio-living 

quarters, which will be made avail~ble to artists at reasonable rents. 

In addit~on to the 384 units which will house artists and their 

f~milies, as well as provide working spaee, this artists’ housing center 

will include ah almost limitless supply of other faeilities for ~hese 

artists and Vhe community : a thcatre, film studios, e~hibition galleries, 

rehearsal rooms, sculpture gardens, projection rorros, darkrooms, and 

adjoining park and playground areas as well. 

Although the buildings ate not nearly ready for occupancy, many hundreds of applications from artis~s have been received at the Westbeth Corporation. A board composed of distinguished artists and 

cultural leaders will review all applications and w.ill also decide on 

the maximum number of years that a tenant may reside in this first 

major national artists’ housing center in the country. 

This project, complex as ir has been, is notable not only because ir is a "first" in .this country, but also because it has marked ah extraordinary degree of cooperation between represent~~ives of the Federal 

an.d municipal governments and the private sector. This spirit of cooperation was illustrated by ,those present on June ~1, 1968, at 

ground-breaking ceremony for the center: The Honorable John V. 

Lindsay, Mayor of New York; Mr. Jacob M. Kaplan, President of The 

25 
J. M. Kaplan Fund, Ine. ; Mr. Roger L. Stevens from the National 

Endmvment for the Arts; and representatives from .the Department 

of Housing and Urban Developmen~. 

L~.te in 1969 of early in 1970, when the eenter is open, some 380 

artists and their families will take up residenee, ~naking the projeet 

the largest of its kind in the world. And, ir this "experiment" is sueeessful, it is hoped that many sueh eenters will be established all over 

the United S.tates. As the Ne~o :Yo~olc Post’s Emily Genauer wrote on 

June ~9, 1968: 

"The most imaginative, uneonvent.ional, and in some respeets eontroversial of the many projeets instigated by the National Couneil 

on the Arts to assist ereat.ive art.ists in all fields, at this point looks 

as ir ir eould turn out to be the most suecessíul .... Artists will 

benefit from sueh a program, of eourse .... Bu~ there isn’t a ei.ty 

in the eount, ry where the physieal and spiritual life of the rest, of its 

eifizens eannot help but. be improved through the salvaging of sturdy, 

unused buildings for artists housing .... " 

Undergraduate Student Travel_ $500 

A final grant of $500 was ~nade under a previous progr~m, chiefly 

implemen.ted in fiscal 1967, enabling undergraduate students in various 

schools of architecture, planning, and landscape archi~ecture, to travel 

and condue~ special research during the summer preceding ~heir final 

year of study. The program, in its enfirety, enabled 75 students to 

travel through the Uni,ted States, observing and studying old and new 

examples of archkecture and planning. 

DANCE
 

Alvin Ailey Dance Theatre ................................. $10, 000
 

The Alvin Ailey Dance Company is one of the outstanding Negro 

modern dance companies in the United States. From June to September of 1968, Mr. Ailey and his company madea ~our of the Western and 

Middle European countries, beginning with the Holland Festival. The 

Endowment granted $10,000 to Mr. Ailey in order that he might use the 

uninterrupted three-month period to create two new works, tentatively 

entitled Quintet and Knowville. The works should be completed in 

time for the fall and winter season in the United States. 

American Ballet Theatre ................................. $394, 830
 

In July 1967 ~he National Council on the Arts recommended a 

$~94,830 grant to the 3_merican Ballet Theatre as general support to 

enable the compa~ny to continue to funetion. In June 1968 ah additional 

grant of $100,000 was made to covera portion of the company’s salaries 

and wages for the 1968-69 season at the Metropolitan Opera House in 

New York City. The first of these ga-ants w~ in par~ made possible 

26 
 

 

by ~ $97,415 private donation to the Endowment, which freed an equal 

amount of Endowment funds; the combined amount was in turn 

awarded to Ballet Theatre. 

Association of American Dance Companies .................... $15, 000
 

The Assoeiation of American Dazace Companies is a ser+ice organization which was established as the result of a sur~.ey made by Mr. Ralph 

B]ack, with a grant from the Endowment. Ir was formed to serve and 

represent the entire field of dance, and to weld the dance world into 

ah effective organizational force for the first time. The Association 

has ~ membership of over 200, and its board includes major choreographers, dancers, and heads of professional and regional companies. 

 ̄ A grant of $15,000 was made to support the Association’s program of 

services and information, which includes seminars, personnel services, 

annual conferences, data exchange, and general administration 

consultation. 

Center ]or Arts el Indian America ............................ $3, 000
 

° The asnount of $3,000 was granted for the salary and travel expenses 

of ah administrator for the projected Center for American Indian 

Dance during its developmental stages. The purposes of the Center are 

to (1) develop a performing company for authentic American Indian 

dance styles to be adapted and performed in theatres. New works related .to American Indian sources will be created by professional and 

~[ndian choreographers; (2) develop choreographers equipped to create 

out of Indiaz~ tribal traditions contemporary forros paralleling the 

work that has been done in painting, music, and crafts; (3) develop 

an archive to preserve the rituals and ceremonial dances in their 

authentic forms through film, Labanotation, and research studies by 

faculty and students. 

Martha Grabara Foundation for Contemporary Dance .......... $25, 000
 

A matching grant of $o5,000 was made to the Foundation ~or the 

creation -of three new works: A Time oí Snow, Tfie P~ai~~ of Prayer, 

and The Zady el the House oí Sleep. These works were performed 

during the 1968 season of the Martha Graham Company in New York 

City, and received excellen~ reviews. 

National Association ]or Regional Ballet ...................... $18, 130
 

The amount of $18,130 was granted to the National Association íor’ 

Regional Ballet to hold four Craft of Choreography Clinics in the 

Northeast, Southeast, Southwes~~ and Pacific ]Vestern regions of the 

United States, in ah effort to raise the level of understanding of dance 

structure and its component parts íor directors of regional dance 

companíes. This expansion of ah original (and very successful) pro329-564--69~5 ~7 
~’am of the !~ortheast Regional Ballet Association was precipítated 

by requests from dance directors throughout the count~y an:d iñcluded 

work in music analysis, study of choreographic-f0rms, dévelopment 

of movement themes, study of period style and productio.n, andocritical assessment. A professional staff consisting of a choreographer 

(Paulino I~:oner)~ dance teacher (Fernand Nault)~’ music director 

(Juli Nunlist), and technical director (Jennifer Tipton)~ plus guest 

artists, staged one-week workshops in Pennsylvania, North Carolina~ 

Texas~ and California, with several hundred people attending. Enthusiastic responses, evaluation% and suggestions íor futuro clinics 

were receivéd from participants in several cities of-12 State% and 

press coverage was favorable and extensive. 

Pacif!c Northwest Ballet Association ......... $75, 000
 

A matehing grant was made to the Association to finan~e the seeond 

summer resideney of the City Center ffoffrey Ballet in the Paeifie 

Northwest. ]Vhile in residcnee, the eompany eondueted master elasses, 

lee~ure demonstrations, a seholarship program for 40 promising students seleeted by audition, and gave approximately ..15 full-seale 

performances. 

Regional Dance Development Pro~ect___ $44, 730 

Matehing grants were awarded to enable regional dance companies, 

whieh have been in existenee fora mínimum of five years, ~o eommission 

gues~ ehoreographers, engag~ professional performers for a season, 

aequiro additional produetion of administrativo personnol on a seasonal basis, and expand programming in their regions. The grants were 

as follows: 

Atlanta ~ivi~ Ballet: $3,770 to commission a work by Anna 

Sokolow. 

Ballet Guild o/ Cleveland: $5~000 to expand the season by 16 

additional performances. 

Ballet of San Diego: $5~000 to commission four new works. 

Dayton Cirio Ballet: $2~800 to engage a manager to be shared 

with the Miami Valley Arts Council. 

Garden State Ballet Foundation: $5,000 to engage the company 

íor ah extendcd period for the rehearsal and production of 

additional works. 

Laguna Beach Cirio Ballet: $4,710 to provid~ ten additional períormances in the arca and to assist in the production of Nutcracker during the Christmas season. 

National Ballet Soclety: $5,000 to provide a work new to the repertory of the company. 

Pennsylvania Ballet Company: $5,000 to assist in the acquisition 

of new works for the company: Balanchine’s Symphony in C, 

28 
 

a new work by John Butler, anda new work by Robert 

Rodham. (These three works were presented in the Co~npany’s 

recent zÑew York season.) 

Sacramento Ballet Guíld: $3,450 to engage a ballet master and 

to hire ~ small orchestra for two of the major performances 

of the season. 

S~ate Ballet of Rhode [sland: $5,000 to engage Oskar Harmos of 

Yugoslavia to mount Str.anger for its American premiere. 

DEVELOP~[ENT OF ~REGION’AL TOURIN-G CIRCUITS 

lllinois Arts Council ....................................... $25, 000
 

A matching ~oTant was awarded for a pilog projec~ to provide deeper
 

aud broader exposure for dance audiences and improve touring eonditions for companies. Four modern dance companies (Alwin Nikolais,
 

Paul Taylor~ Glen Tetley~ and Merce Cunningham) appeared in regional residency programs in six cities in Illinois. In addition to concerts, each company conducted lecture demonstrations~ seminars and
 

master classes, and teacher institutes for several thousand people from
 

a 50-mile radius of the host cities. Each local sponsor presented at
 

least two companies in the residency program. Adults and students
 

from the inner city and lower economic arcas were bussed in to
 

Chicago to see the lecture demonstrations. At the end of the program,
 

participants were asked to evaluate it~ and the Illinois Arts Council
 

formulated point-by-point recommendations for future dance activities in the arca.
 

Charles Reinhart .......................................... $5, 000
 

As the Illinois Arts Council pilot project was considered successful, ah individual grant was made to Mr. Reinhart to expand on that 

program to servo ~ larger arca of the country. After contacting 50 

Sthtes plus Puerto Rico, the Virgin ~slands, and Guam to determine 

interest, Mr. Reinhart found that primary interest carne from the 

Northeast, Southeast, and Middle We~ arcas. Interstate circuits were 

developed to include Illinois, Indiana, Minnesota, ~Visconsin, Ohio, 

Missouri, New Jersey, Rhode Island, Connecticut, Vermont, New 

Hampshire, and ~orth Carolina. The dance companies of Alwin ~qiko- ’ 

lais, Paul Taylor, Donald McKayle, Jose Limon, Glen Tetley, Lucas 

tIoving, Merce Cunningham, Ann~ Sokolow, and Erick Hawkins are 

now playing engagements in these States. Mr. Reinhart reports that 

this Coordinated Residency Touring Program, subsequently funded by 

the Endowment, is not only helping the quality dance companies and 

building dance audiences, but ir is also encouraging local sponsors to 

29 
become activo in promoting the artistic life of their communities and 

to work together with adjoining communities and States to develop 

dance progTams of mutual benefit. 

Alexander Ewing $5, 000 

An individual grant was made to Alexander Ewing, President of
 

the Board of Direetors of the Foundation for .~nerican Dance, to develop .~ eollege circuir for an experinaental in-residenee tour by the
 

City Center Joffrey Ballet. The tour, subsequently funded by the
 

Endowment, includes one-week stops at eolleges in Vermont, Ohio,
 

Miehigan, Oklahoma, Arizona, and New Mexieo, where the eompany
 

eonduets master elasses for students and teaehers, workshops in muslo
 

and design for dance, leeture demonstrations, and a variety of similar
 

serviees, and gives regular performances to serve the surrounding
 

areas.
 

Allegra FulIer Snyder $3, 009 

X eonsultant’s lee was paid to Mrs. Snyder to research the field of
 

dance films, eolleet all relevant material, and submit a plan to the
 

Endowment íor its eonsideration as an outline of proeeduro in developing a dance film progzam. A lengthy report was eompiled, is being reviewed by the Dance Panel, and will be used asa guide in establishing an Endowment program in Dance Film.
 

EDUCATION 

Colgate University Student Arts Festival $5, 300 

X matehing grant of $5,300 was made to Colgate University to
 

support ~ two-week festival, "Fortnight of Active Arts," held from
 

March ~ to Mareh 16, 1968. The aetivities were planned and operated
 

entirely by students with highly respected artists representing the
 

fields of music, film, theatre, and graphic arts.
 

At the end of the two-weeks, the festival culminated in ah all-day
 

creation/performance which involved the participation of the artists
 

and students and a display of the results of their work during the
 

festival. The interest and enthusiasm generated by the festival has
 

led to the development of plans for future festivals to be held on the
 

Colgate campus.
 

Community Service Association Summer Arts Program ........ $I0, 000 

The $10,000 matehing grant to the Comnmnity Serviee Association 

of Jaekson, Mississiipi supported ~ pilot summer arts program whieh , 

30 
involved ~s many as 30,000 participants and another 10,000 in audiences. Workshops in art, musie, drama, ereative writing, and crafts 

were held in ten separate eenters throughout Hinds County, iuvolving 

disadvantaged eommunity youth in ereat.ive arts aetivities, and making 

the entire community more aware of the influenee and importance of 

the American Negro and Indian fo]k eultures in Mississippi. 

Great Lakes Colleges Assodat~on Filmmaker-In-Res~dence ....... $5, 550
 

With the aid of a $5,550 grant to the Great Lakes Colleges Associa­

 ̄ tion in Detroit~ Richard Kaplan, a professional filmmaker, has visited

and studied resources and interest in filmmaking, film crificism, and 

film history at ten colleges and universities included in the Association : 

Albion College, Antioch College, Denison University, DePauw Uni­

«ersity, ltope College, Kalamazoo College, Oberlin College, O hio ]Ve8­

leyan University, Wabash College, and ~ollege of Wooster. 

5Ir. Kaplan’s repor~, «Film and the Liberal Ar~s College," w~ 

presented and discussed at the GLCA Film Conference held at 

Denison University, and the participan~ colleges are now making 

long-range plans for ~ cooperative film study/film production 

program. 

Laboratory Theatre Pro]ect ............................... $134, 750 

The Laboratory Theatre Project, which the National Council on 

the Arts hopes mígh~ prove a model for the entire country, was conceived in cooperation with the U.S. Office of Education and local 

school boards, and is being implemented in Providence, New Orleans, 

and Los Angeles. Professional theatre companies in these cities are now 

performing the classics of dramatic literature in productions of the 

highest quality for secondary school students at the same time these 

plays are being studied in the classrooms. The students are brought 

to the thea.tres--for many students a first in their lifetimes--and the 

impact of the stage producfions is bringing to life the plays which, 

without the excitement provided by live theatre, might have remained 

nothing more than words or~ ~ page. In addition, regular evening 

performances íor adults are being well attended in each of ~he three 

cities; in some cases, studen~s are coming back in the evenings fora 

"second look," and bringing their parents with them. 

Over 190,000 high school students in Providence, Los Angelos, and 

New Orleans have been brough~ to the theatres (more than 90 percent 

of the students in one of theso cities had never before seen ]ive 

theatre). Both the teenagers and their teachers, as well as the evening 

adult audiences, have responded with great en~husiasm to these productions; the teaching and viewing of p]ays has become a stimulating 

and meaningful experience for all concerned; and knowledgeable 

audiences are being developed for ~he future. 

31 
Now in the fall of 1968, the New Orleans and Providente companies 

aro beginning their third sea~ns, and the Los Angeles company its 

second. Ir is the hope of the N’ational Council on the Xrts that the 

succesges of these pilot proiects, and the lessons learned in initiating 

them, will encourage cities all over the country to launch similar 

projects for their own people. 

Christopher Murphy $1,500 Study o] Student Arts Festivals ..............................
 

The study of student-run arts festivals by Christopher 3Iurphy, 

a studeng at Notre Dame University, has concentrated on ah identificatío~~ of the people instrumental.in the initiation and implementation of 

,~ festival--students, administration, faculty, and community. Ir is 

also concer~ed with financing and organizational details. The study 

will report on methods used to establish effective arts festivals at 

colleges and universities throughout the UnitedStates, as well as 

or~ ways in-which philanthropic organizations might assist constructively in the development of campus arts íestivals and related cultural 

events. 

Ralph Steiner--Pilot Films in Visual Arts ..................... 815, 000
 

A $15,000 gr~nt was made to Ralph Steiner, a well-known documentary filmmaker, to produce a series of films entitled "The Joy of 

Seeing." It is intended that the film will provide new experiences in 

visual pereeption. The fihns will be distributed by the Museum of 

5Iodern Art to museum% college% schools, and art schools throughout 

the country. 

Douglas Blaír Turnbaugh 89, 120 Study o] Dance Recording Methods ..........................
 

The need íor a consistent, effective, and widely accepted means 

recording dance has long been recognized. Entire choreogwaphies, including recent works, have beca lost asa restflt of having no better 

system of recording than word of mouth. Thís survey o~ dunce notation 

in the United States and abroad, b~ing undertaken by Douglas Blair 

Turnbaugh~ is designed to help clarify the nature and potential of 

movement notafion for those re~ponsible ~or the artistic and administrative leadership of dance companies and schools. 

Mr. Turnbaugh has ínterviewed key personnel (choreographers, 

dancers, ’ballet master~, and company and uuiversity dance directors 

and managers) in the areag of ballet, modern dance, university dance 

departments, and commerical theatre: He will collect and report their 

evaluation of dance notation and its effectiveness in making a permanent record of their own work as well as reconstrudting works by other 

historic and contemporary choreographers. 

3~ 
LITERATURE 

Academy o] American Poets ........................... ~- .... $4, 600
 

In 1966, fl:ie Academy of American Poets, with Endowment .~ssistanee, ]aunehed a new pilot series aimed at radieally altering and improving the teaehing of literature in American seeondary sehools. This 

program has a two-pronged approaeh, with well-kmown senior poets 

discussing with English teaehers how to transmit the vitality of langamge to their students, and with younger poets reading and diseussing 

poetry direetly with students in their classrooms. :[nitiated in New 

York, Detí-oit, and Pittsburgh, the program met with what Saturday 

Review writer David Dempsey called "staggering sueeess," both with 

the teachers and with their students, as well as with th~ poets themselves. 

As th~ program, "Poetry in the Schools," began to expand beyond 

its original ~eope, andas other eities expressed lively iriterest in implementing th~ pro~ect for their students, th~ Academy 0f American 

Poets agreed to act asa consultant for projects in Minneapolis, Arizona, and Illinois. Administratiw and travel expenses in th~ amount 

of $4,600 were approved by the National Council on the Arts to aid 

tlm Acad~my in assisting these other cities’ programs. 

Academy o]~American Poets Program’: 

Un~vers~ties o] Arizona and Minnesota ............... ~ .......
 $27, 000 

Th~ hrational Council on tlm Arts recommended $1o.,000 in support 

of the Poetry in th~ Schools program to be administered by the University of.Minnesot~ in Minneapolis, with eonsultativ~ serviees provided by the Aeademy of Ameriean Poets. The Minneapolis program 

has been operating sinee October 1967, and is being extended through 

Jun~ 1969 at the insistenee of the participating school systems, whose 

enthusiasm for the program has been overwhelming; aeeording to 

the Edueafional Consultant to ttm program, «It is really diitieult for 

m~ to find adequate words to express th~ tremendous impaet the Poetry 

Program :is having ir~ Minneapolis, both in our sehools and in the 

~ommun!t~." " 

The projec~ to be carríed out by the University of Arizona, designed 

to work with American Indian children and Spanish-American migrant children in the Arizona and New Mexico areas, has had severe 

problems in raising matching funds, but is ñnally beginning to get 

th~ necessary a~sistance and commitments from ]ocal school system~ 

and ~he communities; tlm National Endowment will assist with a 

$15,000 grant. 

33 
The American Literary Anthology-­

Voh~mes 1 and 2. $16, 649 

The Ameriear~ Literary Anthology/1, published by Farrar, Straus 

& Giroux, was released in June 1968, bringing to fruition an :Endowment plan to create an annual antholo~- of the bes~ writing from 

Americ.~’s small literary magazines. In praise of this first volume~ 

The New Uorlc Times said: 

"This first volume of ~best’ fiction~ poetry, and essays culled froln the 

1966 issue of nearly 300 magazines of limited circulation marks the 

first official recognition of the important tole played by noncommercial 

magazines in the discovery and development of authentic literary 

talent.;’ 

In fiscal 1967, Endowment funds were provided to make awards to 

the authors whose works were selected for inclusion in the first Anthology, as well as the editors who had published these works in their own 

"small" magazines. 

The Ames¿can Ziterary Antholoyy/O~ is being published by Random 

Itouse, and will be available early in 1969. An advance review~ in 

the Forecast section of Publíshers’ Weekly, describes Anthology/2 as, 

"A really fine and varied survey~ sophisticated~ sensitive~ wideranging." 

The Endowment was fortunate to have the services of ~[r. George 

Plimpton, editor of The Paris Review, who worked without personal 

compensation in administering the pro~ect. 

American P.E.N. (Poets, Playwrights,
 

Essayists, and Novelists) Center ..... $20, 000
 

As part of its eon~inuing effort to strengthen A~nerie~’s bonds with 

eountries around th~ world through assis~ing national ar~s organizations with internacional fíes, the ~qational Couneil on th~ Arts reeommended £unds enabling th~ Ameriean ehapter of th~ international 

writers’ organization, P.E2q., to establish rr permanent headquarters. 

Wí~h ~ larg~ membership truly repr~entative of th~ bes~ of th~ 

Ameriean liter~ry eommunity, and with i~ n~w Center opened on 

ffune 10, 1968, Ameriean P.E.~T. is now set~ing up regional ehapters 

aeross ~lm eountry to better servo the Ameriean literary world and to 

provide equally effeetive serviees £or visitors írom other lands. 

The Association o] American Universíty Presses, Inc ........... $28, 500 

This progwam will mako possibl~ tho publieation of manuseripts of 

poetry, shor~ fietion, and literary eritieism whieh will supplemenr 

the AAUP member presses’ usual eatalogs with works of ou~~anding 

mevit whieh aro not of interes~ ~ eommereial publishers. ~[r. I~oward 

Webber, Director of The Pros of Case ]Vestern Reserv~ University in 

Cleveland, Ohio, is ehairing the speeial eommittee designated to direet 
the program, to become fully operative in January 1969. Nominations 

for a selection jury to approve the manuscripts submitted have been 

made, and member presses will soon solicit manuscripts for publication 

under th.is program. 

College and University Literary Festivals__ $16, 007 

Matching grants ran~ng írom ~9~~0 to $4.000 were made to nine  ̄

colleges and universities, many of them in underpopulated and/or 

remote areas, en.abling them to enlarge the scope of their activities 

and draw important writers to their campuses. All of these festiva]s 

were held during the spring 1968 semester. 

At the Un¿versity oí Ar]cansas, extra sessions with the guest authors 

were demanded and cheerfully granted. Student work was critically 

discussed and the guests have been invited to appear again for visits 

this year. The Festival of ~Vords and Music at Beloit College in Wisconsin drew audiences froln as lar away as Green Bay and Chicago, 

and supplementary sessions were again the rule. The Unisersity of 

Ma~.¡land festival, "Poetry and the American Conscienc%" was so 

well received that the University is funding a repeat festival this 

year on its own. The festival at Eastern Oregon College was a multimedi,~ affair, with concerts, films, and poetry readings interwoven; 

an all-day conference at which student writing was discussed was the 

focal point of the six-day program. Pitzer Col[ege in Claremont, Ca]ifornia, sponsored an Irish Literature Festival and featured their 

writer-in-residence, ~V. iR. Rodgers, the noted Yeats scholar. The sponsor there is quoted as saying that the "highly significant (relevant) 

shot in the arm" has facilitated progress toward effective programs in
 

"black art and history." The joint efforts of Providente College and tAe
 

R/wde Island School of Design produced a "thumping, no-kidding
 

success," where SRO was the case in ’two of the three speakers’ readings. ~au]s Valley College in Dixon, Illinois, included teachers and students of Eng]ish ata high school ]evel in the festival whose emphasis 

was on literature and creative writing. The director there felt that 

the progTam was a resounding success, and commented thah "Ir is 

from this type of effort ~hat real growth in the arts will occur." The 

Universíty o] Cali~orn¿a at Irvine held a Manuscript Day at which 

prizes for outstanding student work were awarded, and about 55 offcampus participants attended. From all reports a real feeling of 

ac¢omplishment was generated, with hopes fora continuation of the 

event. The State University of New Uor]c at £’tony Broo]c held its 

World Poetry Conference in conjunction with the International Poetry 

Festival of ~he YM-Y~rHA~ and drew pa~~icipants from all over the 

United States and at least seven foreign countries. Praise for the 

Conference was heard on all side% and two of the poets were invi~ed for 

the future as writer-in-residence fora year. 
Coord~nat~ng Council o] Literary ~Iagazines ................. $50, 000
 

This organization, established with a fiscal 1967 Endowmen~ grant 

to the National Institute of Pub]ic Affairs, and now independent of 

that group, is beginning to íeel the full force of the demand which 

the "little magazine" world generates as a growing element in the 

literary world of the United States. CCL3[, now in its second year of 

operation, has made a total of 100 grants to se]ected small magazines, 

has continued a series of contests and conferences beg~n in its first 

year, and has initiated a series of special projects, among them u fund 

aimed at assisting the black literary community. CCLM’s offices are 

now in New York City. 

Distinguished Service Awards .............................. $50, 000
 

This program was recommended by the National Couneil on the 

Arts to provide national recognition due eertain distinguished writers 

for their life]ong eontributions to Ameriean letters. All of those 

selected, whose ages ranged between their fifties and their seventies, 

had been strongly recommended by a broad spectrum of professionals 

in the literary world: authors, agents, editors, publishers, and audiences. Although all were acclaimed as "giants," the Council felt that 

aone had received the full recognition, either financially or pub]icly, 

due hito. 

Awards of $10,000 each went to Y.ou~se Bogan, one of the finest 

American lyrie poets alive, a Gnggenheim íe]low, winner of the 

Bollingen Prize and numerous other awards; to Malcolm Cowle!/, best 

known for his accounts of literary life in Paris in the twenties; to 

John Crowe Ransom, first editor of the internationally renowned 

Ken~/on Rev~ew, poet, critic, and Kenvon College Carnegie Professor 

of Poetry Emeritus; to Yz’or Winter’s, winner of the 1960 Bollingen 

Award, acclaimed for his influential poetry and even more for bis 

dazzling, incisive, irascible, and original criticism; and to Jo~n Berry­

~nan, 1965 Pulitzer Prize-winning poet, former Rockefeller and Guggenheim fellow, currently chancellor of the Academy of .~dnerican 

Poets, who despite a prolific publishing career since the 1930’s, has on]y 

recently begun to elicit some of the mayor recognition due him. The 

Endowment’s award was of substantial help in assisting him to complete his major work, wide]y acclaimed, ,~ compilation of over 300
 

poems entitled, "His Toy, His Dream, His ~e~t."
 

Douglass House Foundation, Inc ............................ $25, 000
 

In fiscal 1967, tho National Council on the Arts recommended a 

$~5,000 gran~, which assisted Budd Schulberg’s ]Vatts Writers’ Workshop to estab]ish ~ permanent borne, Doug]ass ttouse, on Beach Street 

in the Watts section of Los Ange]es. In fiscal 1968, the Council recommended ah addit~onal $25,000 grant for further development, of the 

36 
Douglass tIouse activities, which by then had expanded Luto other 

art forms and other locations, including Altaden,n and San Bernardino. This later Endowment grant was for general support of some 

of these new endeavors, among which were performances of original 

plays, the showing of feature films, mounting of televis~on plays, and’ 

readings. 

The original Douglass House is now ah independent, all-black 

"Watts Writers House of Respect," as was the llope of its founders, 

and the original group has moved on to similar projects in other 

areas. The name "Douglass House Foundation, Inc." has been retained 

for the nonprofit corporat~ion which now has branches in six Californi:~ 

locations ’and plans to open branches in several other parts of the 

United States by 1969. 

Independent Lite~ary and Art Presses ........ $60, 000
 

The hYational Council on the Arts reeommended a program of 

awards to distinguished publishers and prin~ers of fine books, who 

have their own small literary presses. These publishers have launched 

the eareers of many unknown, developing or diftlculg writers, and have 

as well developed extraordinary s~andards of typography, book design, art, and printing, in all eases at great personal eost., with devotion to American letters. 

Awards were made to the following: 

Carroll Coleman, Pra~rie Presa, Iowa City 810, 000 

Diane di Prima, Poets Presa, New York .............. 5,000 

Harry Duncan, Gummington Presa, Iowa City 10, 000 

Robert Greenwood, Talisman Presa, Georgetown, California ........... 5,000 

George ttitchcock, Kayal~ Books, San Francisco ............. 10, 000 

Kimber Merker, Stone Wall Prcsa, Iowa City, 10, 000 

ffames Weil, Elizabeth Presa, New l~ochelle ....... 5, 000 

ffonathan Williams, Jargon Booka, YIighland, North Carolina ........... 5, 000 

Individual Grants to Creative Writers ............ $143, 500
 

In line with the strong feeling of the members of the National Council on the Ar~s that encouragement of individual creativi~y is one of 

its mos~ impor~ant functions, grants totaling $143,500 were given to 21 

talented writers. The grantees names are listed in the appendix. 

Literary Study Group. S18, 000 

Six grants of $3~000 each were recommended to enable prominen~ 

wri~er-teachers to actas "talent scouts" in ]ocating young and unknown 

but promising writers~ and in investigating ways of assisting them. 

The gTOUp spen~ several months traveling from coffeehouses to universities~ from agents to little magazine editors~ exploring any avenue 

which might harbor undiscovered talent. 

The grants were made to Max Steele of Chapel Hil], Nort.h Carolin~; 

to William Hairston of Washington, D.C. ; to Ann Stanford of San 

37 
Fernando, California ; to Rober~ Hayden of Nashville, Tennessee, and 

Terre Haute, Indiana; to Thomc~~ Fitzsimmons of Rochester, Michigan; and to John ttaw]ces of Providence, Rhode Island, and Stanford 

University, California. 

Young Wr~ters’ Awards. $37, 500 

The National Couneil on the Arts reeommended individual grants 

oí up to $2,000 each (the amount determined by the number of dependents a writer had) to assist 29 gi~ted but unreeognized writers suggested by the six members of the above mentioned Literary Study 

Group. The awardees, whose names ate li~ed in the Appendix, included 16 poets and 13 novelists, ~0 men and nine women, and their 

baekgrounds varied as muchas their styles. 

One o~ the g-tantees is a young black poe~ who helps her husband 

support their íamily by running a general store in Alabama, and another is a young Southern writer, blind since birth and seriously crippled in in~ancy, who managed to struggle through a teacher’s eertifieate and is now teaching in Tennessee, writing in the evenings. 

This entire program o~ awards, reaehing writers in 16 States, 

prompted a Deeember 13, 1967, Hartford Thnes (Conneetieut) editorial whieh read, in par~: 

"The Council has announeed . . . allotments oí íederal £unds to 

~9 writers to enab]e them to get on with the important work of 

writing .... Ir is proper íor ~ govermnent to underwrite the ereative 

efforts of young writers. The government does what the people would 

(or a~ least should) do i~ they had the chance. Liter~ry creation dccorates ~ nation and enriehes posterity. The total o~ the . . . grants 

of the National Council on the Arts... may well produce cultural 

treasures ~ar out o~ proportion to the eost in money." 

Modern Language Associatíon/American P.E.N. Con[erence ..... $5, 000 

The Council reeommended a grant to support ah M.L.A./I:’.E.N. 

eor~ferenee, subsequently held in February 1968, to explore the implementation of ah effectiv~ and equitable referral system betw~en nonaeademie wrRers who wish to teaeh, and eolleges and universities which 

have need of writers as instructors. ~k .~maller ~ollow-up meeting was 

held in June 1968 to attempt some ~urther development of the points 

made at th~ earlier eonferenee. 

The ~I.L.A. Faculty Exehange lists and the lists of vacaneies published by the Assoeiated Departments of Eng]ish are now being developed in eooperation with P.E.N. and the Autho~~ Guild, as well as 

with Publishers’ Weelely, to make known to writers and those who 

want writers what and whom is available. 

38 
I 

National Book Committee .................................. $39, 000 

The xÑational Couneil on the Arts recommended this gvant in support 

of art experimental program to extend and expand "Book and Author" 

eommunity-wide events, to bvoaden publie appreeiation of the litevary 

arts and to stimulato readership and the wider and wiser use of books. 

The first three sueh pvojects were held in Wiehita, Kansas, Binghamron, New York, and Gvand Rapids, Miehigan, and Seatured distinguished ~tuthors Marei,’r Davenport, Thomas J. Fleming, Robet~ Jastrow~ ]Villiam J~y Lederer, Elizabeth Speneer, William G. Rogers, 

Mare Connelly, Donald Hall, Vetar Caspary, and Stephen Birminghato. These events have ineluded lively par~ieipation by high sehool 

and eollege students as well as adults, and have also involred municipal 

and educational offieials in an effovg to stimulate a deepened literary 

awareness in entire communities. 

Poets in Developing CoIlegæs ............................... $33, 659
 

The National Couneil on the Arts reeommended a series of grants 

for ,~ program administered by the ]Voodrow Wilson Fellowship 

Foundation in eooperation with Th~ Poetry Center of the 92d Street 

YS[-YWHA, New York. Under tho program, in the fall semester oS 

1967, seven poets, both blaek and ~vhite, mad~ planned tours of  ̄ circui~ of five developing Southern eolleges, primarily black in enrollment. For the spring semester, tire poets spent five-week terms as 

writers-in-residence at tire colleges. In mid-3[ay, a Festival was held 

at 3[orehouse Col]ege in Atlant,~ which brought together all the poets 

involved in the program throughout the year, in concert with their students, reading and discussing their ~vork. Ah additional small grant 

was made to Dr. Stephen Henderson, Clmirman of the English Department at Morehouse and coordinator of the Festival, to compile 

an antho]ogy oS the work written in the firs~ year of tlm program. 

The second year of this program is now underway, and one of the 

involved col]eges received Sunds to sponsor a writer-in-residence Sor 

the entire academic year, a practice which sever~l other of the colleges 

are a]so Sollowing. Hopefully, the Surther development of the prograto will bring the program out of the South into other areas of the 

country. 

Y3I-YWHA Poetry Center Festival o~ Foreign Poets__, $4, 500 

The Endowment provided ~ matehing gran~ .to The Poetry Center 

of the 92d Street YS[-Y~VI-IA, New York City, to sponsor n Festival 

of readings by six illustrious foreign poets not yet Samiliar to American 

audienees, and tr~nslations of their works, in ~une 1968. 

The Festival was ah extraovdinary suceess, elieiting comments Srom 

the partieipating poets like this Srom Georg~ Awoonor-]¥illiams, the 

Ghanian poet: "Youe readings did more to tell those few of us who 

39 
carne, and who will write about that aspect of your country, than a 

million diplomats.., because the investment is ideals, in visions that 

will blossom and bear fruit." In addition to these strongly favorable 

personal reactions, the Festival also.resulted in three of these poets 

being asked to return in the future as writers-in-residence at American 

universities. 

MUSIC 

A broád theme running through the music programs of the National 

Council on the Arts is audience development. Many of the programs 

h~ve involved bringing concerts and productions of high caliber to 

people who otherwise might have neither the opportunity nor the 

incentive for such ah experience. 

San Francisco Opera Association ..... $100, 000 

The national Endowment for the .~-rts in fiscal year 1968 eontinued 

its assistanee in support of the San Francisco Opera’s Western Opera 

Theater, formed in 1967 with Endowment assistanc~ asa small, flexible 

opera ensemble to perform eondensed and full-length versions of 

operas for schools, neighborhood and eommunity organizations where 

oper~ on ~ full seale was not feasib]e. 

The Western Opera Theater met with immediate sueeess, and the 

Endowment’s fiscal 1968 gr~nt assisted expanded touring aetivities for 

the group, whieh in its seeond year gave 80 student performances and 

3~ full performances for adults, íor a total performane~ inerease of 

87 over the previous season. The group toured these productions to 

~~_rizona, Oregon, and Nevada, as well as California, and was mct 

with sueh reviews as that of The Sacramento Bee’s William C. Glaekin : 

"Anybody worried about the future of opera can take encouragement 

from the tremend0us sueeess of the Western Opera Theater’s presentation of Rossini’s ’The Barber of Seville’ before ~. Sacramento High 

Sehool auditorium filled to overflowing with students. Yest~rday 

afternoon’s performance . . . was in the first place well attended . . . 

Vastly more significant, however, was the way the s~udents responded . . . they listened~ and they responded delightedly to what 

was going, on . . . And when ir was all over the studeñts did not 

merely clap, they stood, and they did not mere]y stand~ they yelled." 

Symphony o[ the New World 825, 000 

Another organization whieh was able to expand its touring aetivities
 

with assistance from the Endowment was the Symphony of the New
 

World, the country’s first fully integrated orchestra.
 

4O 
GoMovsky Opera Institute ......... 830, 000 

. In a related area of audience development, the Council recommended 

a grant to the Goldovsky Opera Theatre, which has long beén touring 

the United States, bringing opera to communities where opera is 

rarely offered. Assistance from the Endowment enabled the company 

to improve the quality of its touring productions, while keeping ticket 

prices and lees moderate. 

Amer~can NationaI Opera Company, $449, 740 

Private donations to .the Endowment in the mnount of $49,870 assisted the Endowment to make possible the formation and subsequent 

national tour of the American 2qational Opera Company. This Company~ set up in response to President Johnson~s request at the signing 

of the Arts and Humanities bill, "to support a 2qational Opera Company~" was formed under the artistic direction of Sarah Caldwell to 

replace the Metropolitan Opera’s National Company~ abandoned after 

two years due to insurmountable financial difficulties. 

The American 2qational Opera Company tour, ~udged to be extremely successful as an artistic undertaking, streng~hened the Arts 

Council’s desire to bring professional opera to all areas of the country, 

but demonstrated again that the Arts Endowment does not have 

sufficient íunds to finance tours ofthis type. 

OaMand Un~vers~ty. $45, 500 

In the area of eommunity audienee development, the Council recommended assistanee to Oakland University in Roehester, Miehigan, 

for a four-year experimental audienee development program. 

This projeet involves the United Automobile Workers and the 

&malgamated Clothing Workers of Ameriea, as well as the University, 

and local arts and business organizations, and reflects the Council’s 

desire to work with all parts of the private sector in bringing the arts 

to all Americans. 

Aud~ence Development Program $84, 814 

& broad program in audience development which the Endowment 

has supported involves assistanee to eoneert presenting organizations, 

to enable them to present eoneerts whieh, beeause the arfists eoneerned 

are no~ well known, do not draw ]arge audiences. Throughthe Endowment’s Xudienee Development Program, eollege and university 

eoneer~ series throughout the eountry have been able to apply for 

ma~ehing grants;-to be used for lees for additional programs by 

young and lesser known Ameriean artists of quality. In this way, 

the schools are ab]e to broaden the taste of the students attending the 

eoneerts, as well as to assist deserving .~_meriean artists. 

41 
Syracuse Friends el Chamber Music ......................... $1,000
 

Expansion of the Audienee Deve/opment Program would involve 

similar assistance to other types of conee~ presenting organizations. 

In view of such expansion in the future, the Couneil reeommended a 

pilot grant to the Syracuse Friends o~ Chamber 3[usie, a soeiety which 

presents coneerts by chamber musie groups. Eventually, should the 

Audienee Development Program be expanded, assistance to additional 

chamber musie soeieties might be a possibility. 

Hunter CoIlege Concert Bureau ............................. $5, 780 

A program of audience development in the field of contemporary 

musie involved a grant to the I-[unter College Concert Bureau in ~Nrew 

York City, to enable ir to inaugurate a new eoncer~ series, "írhe New 

Image of Sound." The series, desigaaed to encourage intermedia cooperation, as well as to expand the audience for contemporary musie, 

involved the presentation of groups from all over the country whieh 

speeialize in the performance of contemporary musie, frequently so 

technically diffieult to execute. 

The Council has continued to encourage the suppor~ of new and
 

creative productions in music. Muslo programs wbich particular]y reflect this Council policy involve grants to two opera companies:
 

Center Opera Company o~ the WaIker Art Cenler. $20, 000
 

Ah opera eompany whieh has pioneered in presenting eontemporary,
 

as well as lesser-lmown older works, is tho Center Opera Company of
 

the ~Valker Art Center in Minneapolis. This small resident ensemble
 

company strives to present opera asa "]iv-ing art" through artisticallv
 

vital productions which incorporate new concepts in visual design an~l
 

stage direction. In recognition of the work the company has been doing
 

in this are% the Council recommended assistance for its 1967-68
 

season. 

Opera Society o] Washington, D.C ......................... $100, 000 

Although it is not one of the major opera eompanies in the United 

States, tho Opera Soeiety of Washin~on, D.C., reeently eommissioned 

and premiered, ~o considerable critical acc]aim, the opera Bomarzo 

by Alberto Ginastera, considered by many to be one of the most 

si~aificant operas of the 20th Century. In support of this type of 

activity~ and aided by private donations to the Endowmeng amounting 

to $50;000, the Council recommended assistance to the Society for its 

1968-69 season. 

4~o 
Composer Assistance Program ............................. $58, 485 

Essential to the eneouragement of new produetions is assistance 

to eomposers. In fiscal year 1968, the Couneil reeommended grants 

totaling $58,485 under the Composer Assistanee Program. This prograto, administered by the Ameriean Symphony Orehestra Lea~ie 

and the Ameriean Muslo Center, was established in 1966, in reeognition of the faet that Ameriean eomposers have had a partieularly 

difiicult time in getting hearings for their work. Ir involves the eommissioning of eomposers whose work has been aeeepted for perfor­

~nance by an orchestra, and is extended in its usefulness to the composer 

by a provision of copying grants. ~Vhen the composer has a bona fide 

orchestral performance guaranteed fora work already completed~ he 

may apply for copying aid~ which can be a very substantial personal 

financial assistance, as extraction and copying of parts is a costly 

operation. To date, a total of 95 co~nposers and orchestras have benefited from the program. 

Un~versity o] Alabama ..................................... $3, 000
 

A program involving a different type of assistanee to eomposers 

enabled the Universi~y of Alabama to present its 1968 Southeastern 

Regional Composers’ Forum. Ah important ~actor in ~ composer’s 

development is the opportunity to hear bis works performed. The 1968 

Forum enabled southeastern composers to hear flmir wor-ks read and 

performed as well as criticized. 

Kodaly Fellowship Program ............................... $79, 340 

In the area of music edueation, the Couneil has reeommended progratas of assistanee on various levels. In fiscal 1967, the Couneil 

awarded ~ study grant to Alexander L. Ringer, professor o~ musieol­

%03’ at the University of Illinois, to exploro the íe~ibility of ,~ project 

whie.h would ultimately result in the development of a program of

musm edueation in the United States whieh would proveas sueeessful
 

as the Kodaly system has been in I-Iungary. Upon the eompletion of
 

Dr. Ringer’s study, the Couneil reeommended that he be engaged as
 

project director of the Kodaly Fellowship Program. In this eapaei&,
 

Dr. Ringer has overseen the se]eetion of ten young musicians, eaeh of 

whom has at leas~ a baehelor’s degree in muslo, to spend a year lL~ing 

in Hungary, aíter ,~ summer of language training and orientation 

in the United States. In Itungary sinee September, the young people 

aro observing the method of music edueation in that eountry’s elementary and seeondary sehools, as well as reeeiving musical training themselves. After they return to the United States, ir is anticipated that 

they will teach in cooperating American school systems fora year, 

whero they will employ the knowledge gained from their experience 

in ttungary. 

43 
National Guild o] Community Music SchooIs ........... _. .... $32, 200 

~n a more genera], atea of musie edueation, the Fmdowmen~ has 

assiste’d the National Guild of Communi~y Musie Sehools in establishing a permaneng rmtional office, for the purpose of stimulating the 

ereation of new community musie sehools throughou~ the eountry, 

as well as offering eounseling serviees to existing sehools. 

Nat~onal Music Council $32, 000 

A consi~tent policy of the National Council on the Arts has been 

the encouragement of international meetings in the arts, a responsibility me~ by the American Government only since the establishment 

of the Endowment. Foreign nations had understandably been bewildered by the seeming inability of the richest nation in the world to 

finance international conferences in the arts, a regular practice íor 

most of them, and the Arts Council felt ir mos~ important íor the 

image of this country as well as for the value of such conferences to 

make modest sums available for this purpose. 

Thus, a ma~hing Endowmen~ grant enabled the lgational Music 

Council to host the Sixth Congress of the International Music Council 

in September of 1968. Six hundred delegates from 50 countries around 

the world attended this Conference, held in h~ew York City and Washington, D.C~, the first time in its history that this Conference took place 

in the Western Hemisphere. 

In fiscal 1968, the Council recommended assistance for two studies
 

in the music area:
 

Music Crit~cÆ As$oc~ation ................................. ,~~o4, 000
 

To determino the feasibili~y of developing a monthly digeg~ of musie 

criticism, a study grant was made to enable the Musie Critics Association to produce a prototype for the American Musical Diyest, a 

monthly ~ournal which would reprint, abstraer, and translate muslo 

reviews and arficles. 

It is hoped that this publication will enhance the scope and quality 

of music criticism throughout the country, and serve as a model for 

criticism in other fields of the arts. 

Allen Sapp Study $24, 110 

Ir~ recognition of the vast complexities of the music field, the Council, at the suggestion of the Endowmen~’s Music Panel, recommended 

assistance to Allen Sapp, of the State University of New York at 

Buffalo, to enab]e him to conduc~ a detailed and comprehensive s[udy 

of the existing programs and resources, as well as the needs, of the 

44 
music field acro~s the country. This- major investigatioa of the American music world will also include recom~nendations on programs for 

future assistance in this ni’ea of the arts. i 

PUBLIC MEDIA 

The American Film Institute__: ..... ~ ................. L $2, 600, 000
 

On June 5, 1967, announeement was made of the est~blishment of 

The A~nerican Film Institute, ~ nonprofit, private eorporation loeated

in Washin~on, D.C., with George Stevens, Jr., as Director and Chief 

Executive Officer and Gregory Peck as Chairman of the Bo~rd of 

Trustees. 

This date marked .the culmination of many months of effort on the 

part of many people; the National Council on the Arts, convinced

of the growing need for such ah organization, had recommended ’at 

its first meeting in April 1965 that ~ study be undertaken to determine 

.exisfing problems and facilities, investigato the activities of other 

countries in the field, and outline the struc~ure and functions of the 

proposed Institute. In February 1966, followihg intensive preliminary 

work by individual Council members and members of ~he film world, 

the National Endowment for the Arts contracted with Stanford ~ 

, Research Institutoto conducta major study. 

-~ In October 1966, a Film Advisory Council was es~ablished, composed 

of Arts Council members and film resource people from all over th(~ 

country; tlUs Advisory Council worked with the Stanford Researeh 

team in the fact-gathering, the interpretation, of research material, 

the presentation of final recommendations, and, in e~sence, the development of the Instituto from ,n concept to ~ reality. 

The National Endowment for the Arts i’s particularly gratoful to 

t.h~ Ford Foundation for having provided ah unrestricted gift of 

$1.3 million, thus freeing ah equ~l amount of Endowmen~ funds and 

enabling the creation of The American Film Instituto. In addítion, 

the member companies of the Motion Picture Association of Americ~ 

are contributing $1.3 million as one-fourth of the Institute’s initial 

three-year budget. 

The Endowment is proud ~o have been the moving force in establishing The American Film Institute, propos~d by President Johnson 

when he signed the Arts and I-Iumanities bill, especially since this 

cotintry was, until creation of AFI, the only "civilized" nation without 

such ah organization. Ir is interesfing to note that the major film 

companies, which had in the past been unwilling to make funds 

available for such ah Institute, as ,~ result of the funding provided by 

the Ford Found~tion and the Endowment~ have now been willing 

to contribute $1.3 million to the project. The remaining quarter of the 

45 
matching funds is coming from distributors and other corporations 

allied with the film industry. 

Subsequent to the establishment and init~al activity of the Institute, 

13 mujor corporations, impressed with the .~,_FI operation and planning, each agreed to make available ah additional $400,000 per film 

for the production of new films under the Institute’s manage~nent, 

thereby assisting in the development of new talent~ with script 

proval being ~heir only conditior~ of funding. 

The American Film :[nstitute, guided by a _o’2-member Board of 

Trustees representative of all sectors of the film community, is concentrating its efforts in the following areas: 

(1) Preserving the An~erican Film. The AFI Board of Trustees approved the al]ocation of $1,210,000, nearly one-fourth of 

the Institute~s initial budget, for the conservation of Amer~ca"s 

film heritage. This wil! include u National Film Collection, a Repertory Film Program, a Film Information System, and ~ National 

Film Catalog. 

(2) The Film Audience.--To meet the growth of interes~ in 

film among students~ AFI studied the work going on in film 

audience education, designed u program of leadership and recruited a staff to work in the field of audience development. At 

summer seminar for teachers of film held this year, and at subsequent conferences~ AFI has sought to stimulate the development 

of curricul~ and teaching methods and to assure that the most 

advanced study techniques are incorporated into American fihn 

education. AFI has also es~ablished ah adv~so .ry service and 

newsletter, to assist film educators in overcoming practica1 problems in film education. 

(3) The Filmmakers.--.(FI seeks ~o improve the qfiali~y of 

professií~nal training opportunities for filmmakers in the Uni~ed 

States. Central to the AFI program is the creation of a tu~rial 

tradition for cinema, ~oin~ng together in creative association accomp]ished artists and novices. :In its first Center for Advanced 

Film Study, to be established in Cali~ornia, AFI will invite the 

participation of film professionals. Providing day-to-day in~erchange between outstanding studen~s and leading ar~ists, the 

Center will function asa model facility for postgraduate fihn 

study. 

(4) Pr~duetion at AF[.--To initiate and stimulate the revival 

of the shor~ film and to encourage film artists to find in short films 

ah outlet for experimentation and change, AFI has allocated 

$500~000 of its initial budget asa Short Film Fund. Grants are 

given each quarter to student and independent fi]mmakers 

artistic promise~ to suppor~ pro~ects which demonstrate originality and imagination in theme, approach and s~yle. Upon com46 
]

 ̄ 

­

l 

pletion of the films, AFI will encourage their distribution, to 

the end that the short film may once again become ~~ vital part of 

the filmmaking and theatre-going experience. 

AFI has also announced a plan for the production of íeature 

motion pictures for theatrical distribution. The plan was designed 

to allow new filmmakers to create motion pictures that might not 

ordinarily be made, to develop a climate hospitable to innovation, and ,to assure that the films produced are exhibited so that 

the filmmakers and their work may have the benefit of public 

response. 

(5) Pub[ications.~The publications division of AFI seeks to 

stimulate research and writing about all aspects of film, by writ­ crs and scholars t~he world over. The Institute intends to con­

~ribute to the literature of film in several ways: by establishing 

a periodical; by cooperating in the p~blica~ion of books on the 

history and esthetics of film and on the achievements of indi~idual artists; by producing films about film; by developing a prograna of oral history~ to record pas~ and present accomplishments 

of filna artists; by identifying research needs in all arcas of the 

American film~ in cooperation with universities~ film societies~ 

museums~ and other agencies devoted to film research; by reproducing film scripts of use in training courses, to permit 

analysis of the problems of written style and visual íorm in the 

film. 

Educational Television Stat~ons/Indiana 

University Foundation ................................... $I01, 805
 

Supplementing a fiscal 1967 $68,300 gran~, the Endowment in fiscal 

1968 provided $101,805 to the ETS Program Service, a division of
 

the National Association of Educational Broadcasters, to continue its
 

arts program incentive project. During the first phase of this project,
 

all educational television stations throughout the country were asked
 

~o submit programs using local cultural resources. Of the 60 programs
 

submitted, 20 were selected for production and national dis~ribution.
 

The second and third phase of this project has included the selection
 

of ETV s~ations which are to receive additional incentive grants íor
 

the production and national distribution of half-hour programs in

series. 

KQED-TV Experimental Televis~on Proiect .................
 $70, 000 The Council recommended a $70,000 matching grant to KQED-TV 

in San Francisco (called by Variety "... the most creative local 

station in the city~ possibly in the nation.") for an experimental proje¢t to explore in depth the nature of television as an art~ rather thun 

asa derivative expression of other arts. A group of ñve distinguished 

artists (a painter-sculptor~ a novelist~ a composer, a poet~ anda film47 
maker) were employed for ona year at KQED to work together with a 

full-time producer and director to assist them in the most effective 

use of ,the technology of television. 

The resultant programming "exercises" have stimu]ated a detailed, 

illustrated repor~, a series of half-hour television programs on KQED, 

anda projected NET full-hour "special" on the project and its implieations for future television programming. 

National Educational Telev~sion 

American Regional Theatre Proiect ........................ $75, 000 

An amount of $37,500 in private donations to the Endowment íreed ah equal amoun~ from the Endowmen~’s gift fund resulting in a 

$75,000 matehing grant ~o NET. NET is using the funds to produce 

and distribute nationally £our full-length plays whieh ave in the 

eurrent repertory of four outstanding regional theatres. Through these 

produetions, NET will initiate a eontinuing serias of first-rate drama 

produetions whieh high!ight the work of young, eontemporary American playwrights os well os leading Ameriean regional theatres. In 

addition to the four plays filmed in this series, NET will produce and 

distribute two documentary íihns for television whieh examina the 

work of regional theatres--their artists, their public, their problems 

and successes as increasingly important features of American cultural 

life. 

WGBH Radio Drama Development Pro]ect ...................
 

The $57#00 matehing grant to WGBIt (Boston) has helped to $57, 000

reestablish radio drama in the United States asa distinctive and impor~ant forro of a~¢istie exp~zssion. Aided by Endowment and private 

foundation í-unds, WGB!! created a repertory workshop of directors, actors, writers, and technicians which produced 17 plays during 

the :year-long project; ten of these will be distributed nationally 

through ah especially prepared record albura which is being made 

available to nonprofit organizations, including radio stations, colleges, 

critic% and leading repertory groups throughout the United States. 

Six of ,the dramas in the albura were the finalists in a $10,000 national 

script contes~ conducted during t’he year as part of the project. 

THEATRE 

American Conservatory Theatre ..........................
 

Tho American Conservatory Theatre (San Francisco) received a
 $350, 000

matching grant of $350,000 during fiscal 1968 for general suppor~ of
 

i,ts activities and development of its professional training program.
 

Despite ACT’s solid backing by the Bay Arca public, maintaining its
 

existenco has become increasingly difficult.
 

48 
ACT, a distinctive company in American theatre, was assembled 

in Pittsburgh in July of 1965 and spent the following months seeking 

a permanent base of operation. In the fall of 1967 San Francisco 

undertook to keep ACT on a 12-month .basis. During the next two seasons, ACT played in two San Francisco theatres to 750,000 persons 

in 753 performances of 28 productions in revolving reportory. The 

company has continually met with overwhelmingly favorable critical 

and audience response. 

During the summer of 1968 ACT instituted ~ 10-week Advanc~d 

Training Congress for senior as well as junior members of the company, young professionals, graduate and undergraduate students, and 

representatives from colleges and acting schools. Tho curriculum of 

this uniquo program is taught by resident as woll as distinguished 

guest instruc~ors, and includes training in voice, speech, movement, 

mime, and new techniques pioneered by ACT. 

The grant was made possible by $175,000 in private ftmd donations 

to the Endowment, which freed an equal amount of Endowment funds; 

the combined amount was in turn awarded to ACT. 

Amer~can Playwrights Theatre ............................ $I0, 000 

Tho Amerieaa Playwrights Theatre, which is sponsored by ANTA~ 

AETA, and Ohio Stato University, makes new plays by established 

playwrights available for production in educational, community, and 

regional professional theatre--offering ~ho pla:ywright ah alternativo 

to Broadway, freedom from commercial restrictions, anda direct lino 

to a national audience. Through this program any college, university~ 

community, or resident nonprofi~ .theatre may becomo eligiblo to produce plays offered in the APT program. 

During tiscal 1968, playwrights Jorome Weidman and James
 

each received grants of $5,000 for their joint effort in writing ~
 

pl~y, "The Ivory Tower," presented in ~ number of APT member
 

theatres throughout the country.
 

Ameri~an Shakespeare Festiva! Theatre and Academy ......... $23~ 000 

A grant of $23,000 was zwarded to tho Ameriean Sh~kespeare Festival at Stratford, Connecticut, whieh has for tho past several years 

conducted ah intensivo tr~ining program for its company. Tho 

dowment~s grant enabled the Festival to carry out a particular phase oí 

this program. The training program is a good one; ir has been particular]y valuable for the middle echelon actor and has helped to maintain ~ superior ]evel of technical proficiency. 

Berksh~re Theatre Fest~oa! ................................ $50~ 000
 

Tho Berkshire Theatre Festival (Stockbridge, Massachusotts) was 

founded in 1966 by several leading theatre professionals in an attempt 

49 
to provide, within a nonco~nmercial atmosphere, a working ground 

for the performance of scripts by established artists. All of the people 

directly associated with the Festival are professionals highly regarded 

for their continuing contributions to the American theatre. 

A matching grant of $50,000 was awarded for the 1968 Festival 

to help provide a setting whére £our gifted, established playwrights 

could each present a new work under the best professional circumstances, free from the pressures of pre-Broadway tryouts~conditions 

frequently denied even established playwrights. This grant, aimed at 

encouraging the gifted artist irt the creative process, was particularly 

responsive to the expressed wishes of the National Council on the Arts; 

one of the plays prerniered and developed this past summer is currently enjoying a successful production by the nonprofit Repertory 

Theater of Lincoln Cen~er. 

Boston University Symposium ]or Playwrights ................ $17~ 070
 

A group of young professional pl,~ywrights is brought together 

with fivo experienced theatr~ artists (thre~ directors, a playwright, 

anda critic) anda company of professional actors for a period of four 

weeks to develop scripts through rehearsal and workshop performances followed by critical evaluations and discussions. 

The participating playwrights, nominated by proféssion,~l organizations and individuals, aro then selected by the artistic director and 

professional staff of the Symposium on the basis of script materials 

presented. The project is intended for the writer who has already 

written promisingly for the theatre and who h~ shown exceptional 

talent, and es ,~ consequence, can be thought to best use this special, 

concentrated experience. 

Free Southern Theatre ..................................... $7, 000
 

The Free Southern Theatre was organized in 1964: ~o bring live 

theatro to primarily black cornmmaities throughout the South. Since 

0tot time the Theatre has toured in Mississippi, Georgia, Alabama, and 

Louisiana, perfonning ~n churches, unio~~ halls, and open fields, and 

acquainting these audiences with live theatre es well as with the rich 

history of Negro America. 

The Free Southern Theatre developed ~ year-round program of 

workshops and professional tours, providing a forum íor the black 

pl~ywright whilo assisbing in the development of new audiences. 

The ~natching grant of $7,000 awarded to the Theatre’s New Or|eans 

he, adquarters, in support of its acting .and writing workshops during 

the 1967-68 season, provided one of the íew opportunities afforded 

black youth in the South to learn and practice theatr~ arts. The workshops involved the participation of ~15 young people fora 48-week 

period. 

5O 
New York Shakespeare Festival ............................ $250, 000
 

Tho New York Shakespeare Festival received a matehing grant of 

$250,000 in partial support of the 1967-68 ~ason at the Festival’s new 

Publie Theatre, which presents new works by both American and 

foreign playwrights as well as new conceptions of established p]ays. 

The Theatre has a low-price ticket policy, charging a maximum of 

$4.75 a ticket on weekends. 

The first season of the Publie Theatre, in th~ newly-acquired Astor 

Library Landmark Building, was acclaimed ah exeiting and adventurous ana. The Theatre presented ana highly experimental production, 

two translated works, anda modern revival of ,~ Shakespearean play. 

The grant was made possible by $125,000 in privara funds donated 

to tha Endowment, which freed an equal amount of Endowment funds; 

the combined amount was in turn awarded to the Festival. 

Pro]ess~onal Experimental Theatre Development .............. $84, 750 

A_ total o~ $84,750 in ma~ching grants was awarded to nine experimental theatres and workshop gvoups devoted ~o the production of 

new plays and to the exploration of new forros and techniques. They 

ara all committed to the development of the theatre artist, and account 

lar some of the most adventurous and promising work now being 

dona in this country. 

This was the first such majar assistanca program to be initiated 

by any foundation, and was widely bailad by the theatre community 

asa courageous and constructiva step toward recognition of the vital 

contributions being made by these groups. Following the Endowment’s 

program of support, privara foundation aid in this field inereased 

noticeably.
 

The following groups received grants:
 

Albarwild Theatre Arts, Inc., The Playwñghts’ Unir (New York City)__ $10, 000
 

American Place Theatre (New York City) ...........................
 

Cale La Mama (New York City) ....................................
 25, 000


Chelsea Theatre Center (New York City) 5, 000
 

Firehouse Theatre (3IinneapoHs) .................................-: 15,000
 

,Iudson Poets’ Theatre (New York City) - 10, 000
 

............................. 2, 500
 ~~ew Theatre Workshop (New York City) ............................
 2, 250 The 0pen Theatre (New York City) .................................

Office for Advanced Drama Research of the University of Minnesota 5, 000 

(5Iinneapolis) ................................................... 10, 000 

The Repertory Theater o] Lincoln Center ................... $100, 000 

A matching grant of $100,000 was awarded to The Repertory Theater of Lincoh~ Center in support of The Forum theatre’s new play prograto and its free studen~ tickets program during the 1968-69 season. 

The Formn ~heatre was established to encourage new A~nerican 

writing talent, build ah acting company, and develop innovative 

51 
and experimental forms of theatre. In addition to assisting the production of new scripts~ the grant will help The Forum to continue its 

policy of distributing 10 percent of its tickets for each paid public 

performance ~o disadvantaged young people. The grant was made 

possible by $30~000 in priva~ fund donafions to the Endowment, 

supplemented by $70,000 from Endowmen~ funds; the combined 

amount was in turn awarded to The Reper~ory Theater of Lincoln 

Center. 

Res~dent Pro]ess~onal Theatre Program ..................... $300, {DO
 

2~a~ching grants to resident professional theatre companies totaling $300,000 were made for general suppor~ as well as for the produetion of new plays, extension of seasons through local tours, and 

audience development projects. 

The ob~ectives of the program are to assist in the growth and 

de~’elopment of a decentralized American professional thea~re 

through the strengthening of exis~ing companies. There has been 

increasing recognition on the par~ of nafional foundations, State 

arks agencies, municipal governments~ as well as local private sources 

of support~ that the professional resident theatre~ like symphony~ 

opera, and ballet, cannot operate withou~ a deficit and therefore must 

be permanently suppor~ed. 

The 18 theatres which received grants were evaluated on the basis 

of artistic quality~ organizational stabili~y, amount and quali~y 

of community support, .and need. Those theatres receiving grants 

$2~,5oo (7) : 

Alley Theatre (Houston). 

Arena Stage (Washington, D.C.), 

Tyrone Guthri~ Theatre (Minneapolis). 

Long Wharf Theatre (~ew Haven). 

Playhouse-in-the-P~rk (Cincinnati). 

Milwaukee Repertory Theatre. 

Seattle Repertory Theatre. 

$~t5,ooo (s) : 

Actors Theatre of Louisville. 

Center Stage (Balfimore). 

Charles Playhouse (Boston). 

Dallas Theatre Center. 

IYartford Stage Company. 

Theatre Company of Bos~n. 

Theatre of ~he Living AVrs (Philadelphi~,). 

Washington Theatre Club (Washington, D.C.). 
$7,500 (3) : 

Asolo Theatre Festival (Sarasota). 

Olney Theatre (Olney, Maryland). 

Theatre Atlanta. 

Theatre Development Fund, Inc ...........................
 $200, 000 In order to stimulate ereativity and experimen~~tion in ~h~ eommercial ~heatre, a $200,000 matching gran~ was made to help establish ~]m Theatre Development Fund, Inc., a private nonprofit organizatíon located in :New York City. 

The Fund was set up to aid and encourage the production of plays 

of literary merit that might otherwise .be ]imited to undeservedly shor~ 

runs, or might not ’be produced at all because of the harsh economie 

realities of the Broadway, off-Broadway, and other commercial theatres in the United States. Another primary purpose is to help build 

new audiences for serious theatre by the purchase of tickets and ~heir 

distribution to interested students. 

The Fund’s founders are convinced that a healthy professional 

theatre is essential to ~he hea]th and creativity of all theatre in the 

United States. In recent years, because of increasing financial pressures, the types of plays considered worth the financial rislr of production have been severely restricted. Plays of quality have gene 

begging for producers, and new pla:ywrights have not been gi-¢en ,the 

opportunity to develop or display their works. 

Various methods of assistance to these new plays will be used; for 

example, one method might involve plans to supplement regular 

ticke~ sales during the early weeks of a play’s run by giving needy 

students ah opportunity to attend. Loans and advances might also 

be used. In no instance, however, would the Fund provide a siguificant 

share of the initial production funds. 

Scripts to be so aided are submitted to the Fund prior to a projected 

Broadway, off-Broadway, or other commercial theatre production~ 

and are read and judged by a panel of distinguished theatre experks; 

the ultimate choice of scripts is made by theatre director, cri~ic, author, 

and lecturer Itarold Clurman, guided .by the panel’s recommendations. 

This grant, and, indeed, creation of the Theatre Development Fund, 

Inc., was made possible by $100,000 in private fund donations to the 

Endowmen~ from three major foundations, which freed ah equal 

amount of Endowment funding; the combined amount was in turn 

awarded to the Fund. 

53
 
 

VARIETY OF ART FORMS 

AFL-CIO Council lor Scientific, Professional and 

Cultural Employees ( SPA CE) /HarIowe Dean $20, 000 

Achieving a "first" in its history and that of the country, the National Council on the Arts recommended a grant fora projec~ coordinator to work with representatives of the new AFL-CIO SPACE 

Council in New York City, Buffalo, 5Iinneapolis, and Louisville on 

the developxnent of arts demonstration projects. This new partners_hip between labor unions, community arts organizations, and the 

Federal Government establisbed a precedent destined to benefit Amer­

]ca~~ artists as well as large segments of the population. 

Center for Inter-American Relations ........................ $75, 444
 

A. matehing grant was made to stimulate Inter-Ameriean artistic
 

aetivities in tho United States, to eonduct arts eonferenees mutually
 

benefieial to American and Latín Ameriean artists, and to assist American artists to translate and adapt important Latin Ameriean writings. 

Federation of Rocky Mountain States~Audience Development__ $30, 000 

Th~ Feder~tion of Rocky Mountai~~ States (Denver) presented ~ 

uniqu~ opportunity to test ,’m audienee development program in ah 

are,~ that is handicapped in presenting touring programs. The enormous distances and ~nount~inous terr,~in combine to raise the cost 

of touring to ~ prohibitiva level unless regional cooperation can be 

effectively organized. This Endowment project has aided touring into 

15 communities of six States (Arizona, Colorado, Nevada, New Mexico, Texas, and Utah) by such organizations as the Utah Symphony, 

Denver Symphony, Phoenix Symphony, and the Utah Civic Ballet. 

Hopefully, exposure to these professional performing groups will 

motivate community business and civic leade~~ to assume responsibility for continuing support of the projects. 

Federation of Rocky Mountain States~Conference___ $3, 000 

In addition to the audience development program detailed above, 

the Federation o~ Rocky Mountain States hosted ~~ conference to assist 

State arts agencies that had not been able to obtain suflicient funds to 

develop effective programs. This workshop, attended by these States’ 

agencies’ directors as well as by Endowment s~aff and members of 

well-established State councils, w’as directed toward methods of developing new approaches toward arts programming. 

Inner City Summer Arts Program ......................... $403, 497
 

In cooperation with the President’s Council on Youth Opportunity, and interested individuals and corporations, the Endowment 

]aunched a pilot project in 16 major cities (Atlanta, Baltimore, Bos­
ron, Buff~~lo, Chieago, Cleve]and, Detroit, Los Ange]es, Mihvaukee, 

Minneapo]is, Newark, New York, Philadelp]fia, S~. Louis, San Francisco, and Washington, D.C.). A grant of $~5,000 was offe~~d to the 

M~yor of each city with the unde~~tanding that the city would provid~ $~ for every $1 of Federal funds making a total project of $75,000. 

The guidelines for the grants specified that the summer projects 

should be viewed wherever possible as year-round programs merely 

beginning operation in the summer of 1968; that the grant was to 

sponsor workshops in the arts under professional direction; tha~ the 

workshops were to be aimed a~ young participants between the ages 

of 13 and 23; and that beyond these requirements tlm shape and 

content of the wor]:shoi)s were en~irely a local ma~ter. 

Two conferences we~~ he]d: one before the projec~ began included 

expe~s in inner ci~y arts projects and cit, y rel)resentatives; tlm other, 

ah ~valuat’ion conference, included only the persons who administered 

ttm projec[s in each city. 

Endowment f~~nds for the projecg wer~ one-half from Federal 

sources and one-half from private corporate, foundation, and individual giffs, including receipts of approximately $60,000 from a 

benefi~ held in New Yorl~, which may be the firs~ time that any government agency has raised money in such ~ manner. 

Totally, more than 100 workshops were held during ghe summer 

and judged successful .by local administrators. However, the greatest 

success from the Endowmen~’s point of view is the streng~hened commitment on the parg of thes~ cities to include the arts as ah integral 

part of their overall inner cit.y programs. 

Rural Arts Program~lVisconsin Idea Thealre ................ $69, 324
 

The Wisconsin Ide,~ Theatre of the University of Wisconsin developed this tbree-year pilot project in tire rural communities of Wisconsin with populntions ranging from 1,500 to 10,000 persons, to exp]ore 

methods of increasing lmb]ic recel)tivity to cultural programs and 

to give peop]e who have not had the opl)ortnnit, y ~ chance to participate 

in ttm arts. Launched with a ,fiscal 1966 Endowment grant, this experiment, in its second year of bringing th~ arts to the people, is being 

conducted as ~ piIot program which, ir successful, may serv~ asa model 

for all areas of the State, and, indeed, rural arcas throughout tlm country. Tlm final report of this program, when released, will bo madc 

available to interested communities through the State arts councils. 

VISUAL ARTS 

American Federation o] Arts .............................. $10,500 

From the time the Endowment was established, its st,~ff has been 

advised that ,n great need exists in the a~~ ,~nd journalist, ic worlds ~or 

55 
 

competent and qualified ar~ critics. Asa beginning step to alleviate 

this problem, a matching grant was made to the American Federation 

of Arts for support of ,n unique limited-enrollment ]Vorkshop in Art 

Criticism conducted in unison with the New School for Social 

search in the spring of 1968. Led by the well-known critic, Max ](ozloff, this workshop was a working situation with selected writers from 

all parts of the country actively en~o~ged in the production of 

criticism. Leading critics were invited to visit the classes and discuss 

both practical and philosophical matters. ]Vorkshop p,~rticipants were 

taken to galleries and asked to write reviews of current exhibitions, 

which reviews were then debated on their merit as evalu~tive prose, 

thus establishing critical standards and methodology. 

Andreas S. Andersen---Study o] Contcmporary Brítish and
 

European Programs o] Instruction ht Design $3, 500
 

Certain of the English and European schools of ar~ and design 

lmve developed highly suecessful contemporary programs in the design 

ar~s as applied to the fine al~s fields. Andreas S. Andersen, Director 

of the Otis Ar~ Institute in Los Angeles, proposed making ,~ concentrated study of these developments and the possibilities of their applieatioll to higher educatiort in art schoo]s in this country. The Endowmen~, recognizing the potential wlue of such ah undertaking, 

provided a grant enabling Mr. Andersen to travel and investigato 

schoo]s which have outstanding courses of instruction in design, with 

p,~rtieul,~r referenee to imaginative uses of new materi,~ls and advanced techno]ogies. Both governmentally operated and priwte 

schoo]s were involved, and ,~ photogmphic record in the form of 

35mm. color slides made, which will be available to professional al* 

schools and college and university arL departments in this country. 

Appalach~an Reg~on Exhibit $5, 000 

’A $5,000 matehing grang was mad~ to the Charleston, West Virginia, 

ehapter, National Couneil of Jewish Women, to assis~ in the overall produetion of a juried exhibition of work by visual artists and 

cr~ftsmert from the 13-State Appalaehian Region. Judges for the show, 

en~itled "Appa]achian Corridors," were Mr. Lloyd Goodrieh of the 

Whitney Museum of Ameriean Ar~ and Mr. Paul Smith of the Museum of Contempor,~ry Craf~s in Ne~v York. Enfríes in the show 

totaled 813 pieces from 456 artists. Final se]ection by ~he jurors 

included 193 works by 17~ al~ists and craftsmen. Eaeh of the 13 

Stntes was represented. Tlle exhibition went on ah extended tour in 

]ate summer 1968. 

Awards to Art~sts ................. $145, 000
 

Continuing the program of assistanee to individual visual artists 

of exeeptional talent initiated in fiscal 1967, ,~wards of $5,000 each 

56 
were mude this year to 29 painters and scu|ptors, bringing the total 

to date to 89 from all sections of the country. The artists, whose names 

are listed in the Appendix, were recommended for awards by panels 

of experts set up on ~ regional basis. 

The National Council at its llth meeting in April 1968 passed 

~ resolution affirming its belief that the making of individual grants 

by the Endowment is fundamental to Federal support of ~the arts 

in the United States. This program of awards to individual artists 

is considered to be tlm most successful in the visual arts field, from 

every point of view. Its airo is to lend support to the ~rtist during 

tienes in his worldng life when ir is most essential~ either because he 

has not ~ yet found his audienc% or bec~ruse he is experimenting 

with new forms or new media. This program has been extremely well 

received by the art wor]d, us has the choice of artists to be so honored. It is expected tbat this program will be continued and expanded 

us funds become available in tlm íuture. 

Contemporary Art Workshop .............................. $12, 000
 

The Contemporar:y Art Workshop was founded in Cbieago 17 

:years ago by two professional ar~ists, ~ormer Fulbright and Ford 

Foundation grantees, who wished to build ~ eenter where artists of 

the highest integrity eould study and work. These two artists subsidized the Workshop with their time and effort as teaehers and managers and sueeeeded in surviving years of precarious eeonomie struggle. As a result o~ their efforts, the Workshop has aehieved un important place in the art world o~ Chieago. 

Reeently, the divectors decided to broaden the base of associates at 

the Worksbop to inelude all types o~ artists and cvaftsmen and to eneouvag~ experimentation. Under the Endowment grant, seholarships 

were provided to allow young artists of top potential quality, seleeted 

by a panel of experts, to work at their own pace under tbe expert 

guidance and direction of established professional artists. 

Bruce Davidson-.-Special Photographíc Studies__. $12, 000 

Bruc~ Davidson, ~ distinguished photograpber, was given a grant 

enabling hito to eoneeutrate his efforts on interpreting the life of the 

New York Puerto Ricans thvough the art of photography. Mr. Davidson worked with the people living in ~0 tenement houses on 100th 

Street between First and Seeond Avenues in the are~ known us Spanisla Harlem. Through becoming ~ familiar sight day by day over a 

period of several months, and througb using ah interpreter to ~acilitate eommunieation, he won the eonfidenee of ~the proud and shy 

eommuni~y. Mr. Davidson photographed the people mainly in their 

bornes and produeed some of the most sympathetic and moving, yet 

objective, photogvaphs of poverty and dignity in our times. By giving 

57 
handsomely mounted prints to each person photographed, he also 

he]ped to create a commuuity of interest with them. This grant was 

therefore doubly valuable, both because of the esthetic quality of the 

photographs produced, and because of the self-awareness and selfappreciation engendered by hito i~1 the people of this community. 

Museum Program ........................................ $60, 000
 

In an effort to develop new ways of attracting broader audiences 

to make use of the facilities and services available through museums, 

a pilot program was initiated by the Endowment in fiscal 1967. 

Three museums in widely separated geographic locations were 

selected to participate: The Dctroit Institute of Arts, the Amon Carter 

5[useum of ~Vestern Art (Fort ~Vorth, Texas), and the Institute of 

Contemporary Art (Boston, Massachusetts). 

The ])etroit Institute spent considerable time and efforts to ]ocate 

a~~ al)propriate director, aud thus there was some delay in getting 

its program underway. It was therefore unnecessary to pro~’ide any 

fm~ds to The Institute in fiscal 1968. Dr. Irwin Gross has now been 

appointed director of "Project Outreach," whicl~ is designed to de­

~’e|op ah acti~-e interchange between the musemn staff and community 

|eaders from all segments thro~~ghout Michigan and in some neighboring States. Work to data is going well. Programs which have been 

initiated include ~ schedu]e of seminars, ,~ series of exhibitions, ah 

e~’aluation panel, .~ project fihn, anda volunteer docent program. 

The Amon Carter 5[useum of ~Vestern Art was al]ocated $30,000 

in fiscal 1968, to carry out the second phase of its project. Under this 

program The North Texas Musemns Resources Council was estal)­

|ished for the purpose of developing new and broader uses of existing museum resources in a North Texas are:~ comprising ten counties. 

The projec~ seeks to make museum resources a working component in 

the public educational system; to increase the awarene~ of teachers, 

students, and the general publie so that they may make better use
 

of ~he area’s excellent museum facilities.
 

A new director, Dr. Jolm Diflily, has bee~t appointed; and a board
 

has been set up, composed of the ten participating county superintendents of schools .and the directors of the San Antonio muse~~ms, to
 

develop programs. P]ans include selecting one school in each county
 

to participate in a control]ed experiment to make museum resources
 

a part of the school curriculum; a docent training course at the Amon
 

Carter Museu~n; and a museum-oriented workshop to be held with
 

the University of Texas for 90 ar~ teachers from rural schoo]s.
 

The Institute of Contemporary Art received a second grant of 

$30,000 in fiscal 1968 from the Eadowment to continue the program 

aimed at expanding community involvement in today’s art scene. 

Seven major exhibitions were mounted, and gallery talks and fi]ms 

were presented as ah extension of each exhibition. 

58 
~lluseum Purchase Plan .................................. $150, 000
 

In ffune 1968, the Endowlnent announeed ~natehing grants of $10,000 

eaeh to 15 museums in 14 S~ates íor the purehase of two of more works 

by living American artists. These museums were recomlnended by 

,~ panel of museum experts. 

The Museum Purchase Plan not only provides direct assistance to 

living American artists, but also encourages museums to enlarge their 

collections of con~emporary American ar~, and creates and expands 

audiences for living artists by public display of their works. Art 

museums throughout the coun~ry were encouraged to apply for participation, and applications were reviewed by a panel of museum experts. Two additional grant stipu|ations which it was fel~ would enhance the program were that the musemns’ ~natching funds must come 

from newly-developed sources excluding already existing endowments 

or income, and that the total funds involved must be spent for the 

purchase of a~~ works and cou]d not be used to defray adminis~,ra~ive 

cos~s. 

This is considcred to be one of the most important En(lowment 

programs in the visual ar~s. Ata January 1968 meeting of museum 

rectors from ~5 ]eading institutions throughout tiro country, ir was 

emphatically and unanimous]y recommended that this program be 

implemented and, ir at all possible, made into a continuing and expanded project, as the museum directors maintained that it is more 

difficult to secure private funds for this purpose ~han for any other 

museum function. 

The Endowment plans to publish a catalog of works purchased 

through this program and is considering the organization of ,~ national 

tour of these works. 

The following museums rcceived grants : 

Andrew Dickson White 5Iuseum of Art, Cornell Univcrsity__ Itlmca, N.Y. 

Brooks Memorial Art Gallery ............................. Memphis, Tenn. Des Moines Art Center ...................................
 Des l~Ioine.% Iowa Flint Institute of Arts ...................................
 Flint, Mich. The YIigh 5Iuseum of Art ................................


Milwaukee Art Center Atlanta,

............................. Milwaukee, Wis.
 Newark Museum Association .............................
Newark, N.J. North Carolina Museum of Art ...........................
 Raleigh, N.C. Oakland Art 5Iuseum ....................................


OberIin College, Allen Memorial Arf Museum ................
 Oakland, Calif.

Oberlin, Ohio Pasadena Ar~ 5luseum ...................................
 

Portland Art Association, Portland Att 5Iu.~eum ........... Pasadena, Calif.
 

Rhode Island School of Design, 5Iuseum of Art .........Portland, Oreg.
 

Walker Art Center .......................................
 Providence, R.I.

Wichita Arf 5fusemn ....................................
 Minneapolis, Minn.

Wic~ita, Kans. 

59 
Francis O’Connor--Study o~ WPA Art Projects .............. $43,000
 

Dr. Franeis O’Connor of the University of 3[aryland faeulty reeeived funds fora major study of the eultural and eeonomie effeetiveness of some of the mosg signifieang Government arg projects in the 

United States during the New Deal era. It was felt that evaluation 

of these past programs would be of vital interest to the Endowment 

in developing plans for the future. Dr. O’Connor plaeed bis main emphasis on the aetivities of the WPA Federal .~_rt Projeet, looked into 

the more limited aetivities of the Treasury Seetion, and foeused on the
 

effeetiveness of Federal arg patronage in New York State between
 

1934 and 1943. This latter part of the study was undertakert as Dr.
 

O’Connor ~elt the great coneentration of artists, dealers, and cultural
 

institutions in New York City and the State’s eontrasting rural arcas 

offer ah exeellent field in whieh to study the operation and ultimate 

effectiveness of all aspeets of Federal support for the arts. Dr. O’Connor plans to apply bis findings to eurrent Federal arts programs. 

Penland Schoo! o] Cra[ts .................................. $50, 000 

Tlm Penland Sehool of Cra~ts in Not~h Carolina requested assist.anco from the Endowment to set upa fellowship program enabling 

professional eraftsmen to reside artd work a~ the Sehool. The program 

was approved and is seheduled to begin in January o~ 1969. 

Penland, the oldest crafl school in the United States, has steadily 

improved the quality of the faculty .and instructional progTam, as 

well as the physical property of the school. The purpose of the Endowment-~unded program is to allow craftsmen to break íree from restrictive schedules in order to experiment with new ideas and to work with 

other craftsmen in an atmosphere conducive to creafive experimental 

work. Ii is expec~ed that the program will begin with ten craftsmen 

in residence for periods of from four ~o eight months each. 

Sculpture Pro~ect--Seattle ................................. $45, 000
 

The lqa~ional Council on the Arts in May 1966 approved a program 

enabling Ameriean cities to eommission and place massive modern 

seulpture in prominent publie plnces, to ueeustom the pub]ic, par~ieularly ~hose who might never visit u museum or gallery, to the sight 

and impae~ of the works of eontemporary seulptors. Matehing grants 

of $45~000 eaeh were approved in fiscal 1967 for Grand Rapids and 

ttouston. 

As a eontinuation of this proveer, a similar grant was made to the 

City of Seattle in fiscal 1968. The city has commissioned a mayor work 

of seulpture, «Black Sun~" by Isamu Nogaachi, to be placed in Volunteer l~ark. Ir is expected to be completed and installed shortly after 

the first of January 1969. 

6O 
Kenneth Tyler~Gemin~ Limited ........................... $20, 000
 

Gemini Limited in Los Angeles has gained the reputation of being 

one of the most ’adventurous prin~ workshops in the United States. 

Ir is directed by l~enneth Tyler, who as ~ result of his enthusiasm 

and expertise, has persuaded m~jor American artists with little or 

no printmaking experience to work .at Gemini and explore the possibilities of new medi~ and teetmiques in the tield of g-raphics. These 

artists work with master print technicians, and the main concern is 

to guarantee that eaeh artist maintains a high standard and enjoys 

freedom to exploro any ~venue he desires in his project. Under the 

Endowmen~ grant~ Gemini has undertaken experimental projects 

related to development of new printing papers~ metal plate researeh, 

three-dimensional graphics, embossing, ink researeh, and light exposure for I)rints. Important teehnological innovations h~ve already 

come out of .these experiments~ and printmaking is emerging as  ̄ 

major art forro for the first time in this country. 

Artists who have worked at Gemini during this year and participated in these projeets ate: Jasper Johns, Claes Oldenburg, Josef 

Albers, Robert :Rauschenberg, Kenneth Price, and Frank Stella. A 

comprehensive report deseribing the experinaents and results achieved 

will be submitted to the Endowment ~at the end of the grant period. 

Vermont International ScuIpture Sympos~um ................. $I0, 000
 

Ten internationally-known stone sculptors from ñve foreign countries and the United States participated in America’s first International Sculptors Symposium, held during the summer of 1968 in 

Proctor, Ve~znont, under the auspices of the Vermont Council on the 

Arts, the Endowment, and the Vermont 5Iarble Company. During the 

two-month symposium, the sculptors worked outdoors in natural surroundings carving monumental sculptures from the raw Vermont marble. Over 100,000 visitors were able to watch the progress of the 

artis~s, and ah exhibition of the works, ranging in size from nine to 

38 ~ons of marble, was held in September at the close of the symposium. 

The participants subsequently elected to ]eave the collection intact 

as the nucleus of a growing Sculp~ure Park in Proctor. 

WasMngton Ga~lery oÍ Modern Art .......................... $3, 200
 

The Washington Gallery of 3[odern Art reeeived this matching 

grant to assist in the showing of "66 Signs of Neon," an exhibition of 

assemblages and sculpture constructed from the debris of the Los 

Angeles Watts riots. The materials used for the urt were collected 

following the Auga~s~ 1965 riots by two artist-teachers from the area, 

Noah Purifoy and Judson Powell, who are the graphic arts directors 

of the Watts Art Festival. Together with seven other artists, 5[r. 

Purifoy and ]~~r. Powell developed unique art objects from the residue 

61 
of the wreckag% and presented this collection ayear later at the Watts 

~~rt Festival. The response from this initial showing indicated great 

interest on the part of several museums around the country to show 

this exhibir. 

In ~Vashing~o~~ (D.C.) this exhibition attracted ne~v audiences to 

the Gallery, particularly from the black community. The a~~ists ~vere 

availab]e to speak with the public, and visitors were invited to participate by writing their opinions out for review by the artists. In 

addition, the exhibir was very well received by the press. 

6~ 
FINANCIAL REPORT FOR FISCAL YEAR ~968 

Available lor ObIigation 

Refunds and deobligations, prior year ....... $135,365
 

Unobligated balance, prior year (5c) 66, 848
 

Unobligated balance, prior year (10a2) 3, 045, 156
 

Appropriation (5c) 4, 496, 500
 

Appropriation (5h) 2, 000, 000
 

Appropriation (10a2) 674, 291
 

Gifts .............................................. 674, 991
 

11,092, 451
 

Funds Obligated 

In architec~ure ..... $814, 550
 

In dance ........................................... 623, 699
 

In education_. 181, 595
 

In literature__ 578, 915
 

In music .... 1,154, 969
 In public media ...... *2, 903, 805  ̄
 

In ~hea~re ...... 1,393, 719
 

In a variety of art forros ...... 601,265
 

In visual arts 569,200
 

To the Sta~e program ........... **1, 8t6, 946
 

5[iseellaneous contracts ..... 1,341
 

10, 670, 004
 

� *Includes a one-time grant of $2,600,000 to The American Film Institute ~nade posslble 

I bYblFl°rdpuD lc meulaF"°und’~’ti°nwltnout thtsfundSgrant.°f $1,300,000; $303,805 ts the total program expendlture for 

[ **Thls figure reflects fiscal 1967 refunds from the States which were recelved by the Endowment in fiscal 1968. 

63
 

I 

APPENDIX
 

GRANTS AND CONTRACTS A~VARDED, BY ART FORM,
 

IN FISCAL YEAR 1968
 

Architecture $814, 550 

America the Beautiful Fund--Design Internships___ 12, 000 The Common Ground of the Arts. 13, 800 Hawaii State Foundation on Culture and the Arts ..... 38, 250 The J. M. Kaplan Fund, Inc.--Artists’ Housing___ 750, 000 Undergraduate Student Travel--one grant ...........
 500 

Dance $623, 699 

Alvin Ailey Dance Theatre ........................
 10, 000 American Ballet Theatre (partially from gift funds) _ 394, 830 Association of American Danco Companies ..........
 15,000 Center for Arts of Indian America .... 3, 000 Alexander Ewing--College Circuir Tour__ 5,000 Martha Grabara Foundation for Contemporary
 

Dance
 -05, 000 Illinois Ar~s Council--Coordinated Residency Touring ...........................................
 25, 000 National Association for Regional Ballet ..... 18, 130 Pacific Northwest Ballet Association_ 75, 000 Regional Dance Develop]nent Project (10 companies) _ 44, 730 Charles Reinhar~Residency Touring Circuir ...... 5,000 Allegra Fuller Snyder ............................
 3~ 009 

Education $181,595 

Colgate University Student A~~s Festival__ 5, 300 Community Serviee Assoeiation, Jackson, Mississippi_ 10~ 000 

Great Lakes Col]eges Association ...................
 5,550 Laboratory Theatre Project ~or Education ...........
 134, 750 

Inner City Cultural Center (Los Angeles) ...... 66, 000 Repertory Theatre, New Orleans_ 45, 000 Trinity Square Repertory Company (Providence,
 

R.I.) ......................................
 23, 750 

Christopher Murphy--Study of Student Arts Festivals ......................................... 1,500
 

67 
Ralph Steiner--Pilot Films in Visual Arts 15, 000

Douglas Blair Turnbaugh--Study of Dance l~ecording ............................................ 9, 120 

Miscellaneous Contractual .........................
 375

Literature $578~ 915 

Aeademy of Ameriean Poets ....................... 4, 600 

Aeademy of Ameriean Poets Program : Universities of 

Arizona and ~Iinnesota___ 27, 000 

The American Literary Anthology--Volumes 1 and 2_ 16, 649 

American P.E.N. Center .......................... 20,000 

The Association of American Univcrsity Presses, Inc._ 28,500 

College and University Literary Fcstivals (nine Fes16,007 tivals) ........................................ 

Coordinating Council of Literary 5Iagazines ........ 50,000 

Distinguished Service Awa.rds ...................... 50, 000 

Douglass House Foundation, :[nc. 25, 000 

Independent Literary and Ar~ Presses (eight awards) _ 60, 000 

143, 500 Individual Grants to Creative Writers (21 grants) *__ 

Literary Study Group (six at $3,000 each) 18,000

5,000 5Iodern Language Association/American P.E.N ...... 

National Book Committee .........................
 39,000

Poets in Deve]oping Colleges ...................... 33, 659

YM/YWHA Poetry Center ....................... 4, 500 

Young Writers’ Awards (29 .awards) * 37, 500

Mus~c $1,154, 969 

Ameriean National Opera Company (partially from 

gift funds) .....................................
 449,740

Audienee Development Program ...................
 84, 814

Composer Assistanee Program___ 58,485

Goldovsky Opera Institute ........................
 30, 000

5,780 ttunter College Concert Bureau .................... 

Kodaly Fellowship Program Dr. Alexander Ringer_ 79,340 

I~[usie Critics Association American Musical Dígest_ 64, 000 

National Guild of Community Music Schools. 32, 200 

National Musie Couneil Congress ................... 33, 000 

Oaldand Universi~y Audience Development Project_ 45, 500 

Opera Society of Washington, D.C. (from gift funds) _
 100, 000

San Francisco Opera Association--~Vestern Opera
 

Theater .......................................
 100, 000

Allen Sapp--Study of ~~usic l~rograms_ 24,110

Symphony of the New World ......................
 25, 000

 ̄See lists of individual grantees on following pages, 

68 
,

i


~ 

i 

 ̄ 

Syracuse Friends of Chamber Music--Audience Development Program .........
 1, 000 

U~iversity of Alabama Regional Composers’ Forum__ 3, 000 W, alker Art Center--Center Opera Company ....... 20, 000 

Public Media $2, 903, 805 

The American F’ilm Ins~itute (from gift funds) .... 2, 600, 000 Edueational Television Stations--Indiana University 

Foundation .................................... 

KQED-TV Experimental Television Project ........ 

National EducaCional Television (NET) American fl~~i ~Ó~~ Regional Theatre Project. 

WGBI-I Radio Drama Development Project ......... ~ 

Theatre $1, 393, 719 

American Conservatory Theatre (from gift funds)__ 350, 000 

Ameri~an Playwrights Theatre 10, 000 

American Shakespeare Festival Theatre and Academy .......................................... 23,000 

Berkshire Theatre Festival ....... 50, 000 

Boston University Symposium for Playwrights ...... 17, 070 

Free Sou~hern Theatre ..... 7, 000 

New York Shakespeare Festival--Public Theatre 

(from gift funds) 250, 000 

Professional Experimental Theatre Development 

(n’ine grants) .................................. 84, 750 

The Reper~ory Theater of Lincoln Center (partially 

from gi~t funds) 100, 000 

Resident Professional Theatre Program (18 grants)__ 300, 000 

Theatre Deve]opment Fund, Inc. (from gi~t íunds) __ 200, 000 

Miscellaneous Contractual ...... 1, 899 

Variety o] Art Forms $601,265 

AFL/CIO Couneil for Seientifie, Pro~essional and 

Cultural Employees--Harlowe Dean ............. 20, 000 

Center ~or Inter-Ameriean Relations ............... 75, 

Federation of Rocky Mountain States--Audience 

Development 30, 000 

Federation of Rocky Mountain States--Conference__ 3,000 

Inner City Summer Arts Program (16 cities) (from 

~.ift funds) 403, 497 

Rural Ar~s Program--University of Wisconsin ..... 69, 324 

69 
Visual Arts $569, 200 

Am~rican Federation of Arts_ 10. 500 

Andreas S. Andersen--Survey. 3 500 

App~lachian Region Exhibir 5 000 

Aw~rds to Artists (29 at $5,000 each) * 145 000 

Contemporary Art Workshop .... 12, 000 

Bruce D~vidsoll--Special Photographic Studies ...... 12 000 

~[useum Program 60~ ~00 

Amon Carter Museum of Western Art (Fort 

Worth) 30, 000 

Institute of Contemporary Art (Boston) ...... 30, 

Museum Purchase Plan (15 museums) 150, 000 

Francis O’Connor--Study of WPA A~~ Projects ..... 43, 000 

Penland Sehool of Crafts ..... 50,000 

Sculptur~ Pro~ect--Seattle 45,000 

Kenneth Tyler--Gemini Limited 20, 000 

V~rmont Council on tlm Arts--International Sculpture Symposium__ 10, 000 

~Vashington Gallery of Modern Art 3, 200 

 ̄ See lists of individual grantees on following pages. 

7O
 
INDIVIDUAL GRANTEES
 

INDIVIDUAL GRAI~TEES
 

Individual Grants to Creative Writers: Grants-in-aid of $7~000 to 21 

writers to complete works-in-progress or to conduct special research 

essential to their continuing work ($143~500). 

Jonathan Baumbach 

Brooklyn, N.Y. 

Barry B~ys 

New York, N.Y. 

Hortense Calisher 

New York, N.Y. 

Frank Conroy 

Brooklyn, N.Y. 

John M. Itaines, Jr. 

Fairbanks, AIaska 

James T. YIarrison
 

Stony Brook, Long Island, N.Y.
 

William Hunt
 

Chicago, Ill.
 

Lewis Lipsitz
 

Chapel Hill, N.C.
 

Adrianne Marcus
 

San Rafael, Calif.
 

Paule B. Marshall
 

New York, N.Y.
 

Barton Midwood
 

Coral Gables, l~la.
 

Heather Ross Miller 

Elizabethtown, N.C. 

Cynthia Ozick 

New Rochelle, 

Carlene Hatcher Polite 

Detroit, Mich. 

Ettore Rella 

New York, N.Y. 

Lore Segal 

New York, N.Y. 

Mina Lewiton Simon 

Stanfordville, N.Y. 

David Stacton* 

Walnut Creek, Calif. 

Robert A. Stone 

New York, N.Y. 

Mark Strand 

Ne~v York, N.Y. 

Eve Triem 

Seattle, Was~. 

Young Writers’ Awards: Individual grants of up of $2~000 each to 

assist 29 gifted but unrecognized writers recommended by the six 

members of the Literary Study Group ($37~500). 

Louise ttardiman Abhott Dock Aclaras 

Louisville, Ga. Charleston, Mo. 

*$3,500 of this grant was deobligated upon bis death In January 1968. 

73 
Daphne Athas 

Carrboro, N.C. 

Trim Bissell 

Detroit, Mich. 

Jack Brenner 

Seattle, Wash. 

Joann Cattonar 

Kalamazoo, Mich. 

Sam Cornish 

Cambridge, Mass. 

Janet Cutler 

Roanoke, Ala. 

Bill Deemer 

Eugene, Oreg. 

Joel Dressler 

Detroit, Mich. 

William Edyvean 

Fort Collins, Colo. 

Julia Fields 

Scotland Neck, N.C. 

Ernest ff. Gaines
 

San Francisco, Calif.
 

Leonard Gardner
 

San Francisco, Calif.
 

Gayle Gray
 

Los Angeles, Calif.
 

Hillery Knight
 

Chicago, Ill.
 

Douglas Lawder 

Richmond, Ind. 

George Malko 

New York, N.Y. 

ttenry Malone 

Detroit, Mich. 

Lucas Meyers 

Sewanee, Tenn. 

Pamela Millward
 

San Francisco, Calif.
 

Robert Morgan
 

Greensboro, N.C.
 

Lindsay Patterson
 

New York, N.Y.
 

ffessie Rosenberg
 

New Orleans, La.
 

David Southern
 

Chapel Hill, N.C.
 

Alexander Theroux
 

Charlottesville, Va.
 

Laura Ulewicz
 

San Francisco, Calif.
 

Pete Winslow
 

San Francisco, Calif.
 

fray Wright
 

New York, N.Y.
 

74 
Awards to Artists: Individual awards of $5,000 each to 39 paintcrs 

and sculptors in recognition of past accomp]ishment and to cncourage 

future efforts in the field of visual arts in the United States ($145,000). 

George Bireline
 

Raleigh, N.C.
 

Jean Charlot
 

Honolulu, Hawaii
 

Andrew Dasburg
 

 ̄ aos, N. Mex.
 

Ron Davis
 

Los Angeles, Calif.
 

Joe Goode
 

Los Angeles, Calif.
 

Rober~ Gordy
 

New Orleans, La.
 

Colin Greenly
 

McLean, Va.
 

Wally ttedrtck
 

San F~ancisco, Calif.
 

George Hems
 

Los Angeles, Calif.
 

Craig Kauffman
 

Venice, Calif.
 

Roger Mack 

Little Rock, Ark. 

Robert Maki 

Seattle, Wash. 

Jo~n McCracken 

Venice, Calif. 

Ed McGowin 

Itattiesburg, Miss. 

Bruce Nauman 

Mill Valley, Calif. 

J. Geoffrey Naylor 

Gainesville, Fla. 

John 0pie
 

Baton Rouge, La.
 

Gene Owens
 

Fort Worth, Tex.
 

Victor Pickett
 

Norfolk, Va.
 

Olí Sihvonen
 

Taos, N. Mex.
 

Hassel Smith 

Sebastopol, Calif. 

Peter Teneau 

McMinnville, Oreg. 

Robert Tiemann
 

San Antonio, Tex.
 

James Turrell
 

Santa Monica, Calif.
 

John Tweddle
 

Atlanta, Ga.
 

Douglas W~eeler
 

Los Angeles, Calif.
 

Franklin Williams
 

San Francisco, Calif.
 

Wes Wilson
 

San Anselmo, Calif.
 

George Woodman 

Boulder, Colo. 

75
 


I I