National

Endowment

fortheArts

1999

AnnualReport
Mission Statement

The National Endowment for the Arts, an

investment in America's living cultural heritage, serves the public good by nurturing

human creativity, supporting community

spirit, and fostering appreciation of the

excellence and diversity of our nation's

artistic accomplishments.
The President

The White House

Washington, D.C.

Dear Mr. President:

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

the Arts.

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

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

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

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

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

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

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

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

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

Conservancy helped save Frank Lloyd Wright’s landmark house, Fallingwater, from impending collapse. The Walters Art Gallery in Baltimore received funding for the conservation and reinstallation of their stellar collection of Christian medieval art, and the New Orleans Ballet Association

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

This year also saw the release of our new strategic plan, the second year of our ArtsREACH program, and several NEA Millennium Projects that touched all 50 states, celebrating the turn of the

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

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

undertaken in collaboration with the Department of Justice.

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

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

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

Bill Ivey

Chairman
Sechs Tanze by choreographer

Jiri Kylian was one of the

pieces performed by Hubbard

Street Dance Chicago on its

tours throughout the U.S.

Photo by William Frederking
Letter From the Chairman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

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

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

Grants to Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Creation & Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Education & Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Heritage & Preservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Planning & Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Grants to Individuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Literature Fellowships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

American Jazz Masters Fellowships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

National Heritage Fellowships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

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

Leadership Initiatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

National Millennium Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

International Exchanges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

AccessAbility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

ArtsREACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Folk & Traditional Arts Infrastructure Initiative . . . . . . . . . . . . . . . . . . . . . . . . . .26

Interagency Partnerships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Other Initiatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

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

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

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

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

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

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

Chris Martin, age 7, rehearses with actor Richard Ortega-Miro in Commercial Interruptions. The production was part of the 

One-on-One Program of the Virginia Avenue Project, based in Santa Monica, California. Photo by Robert Silberling

Cover photo information: see credits page.

Contents 19 9 9 A N N UA L R E P O R T
4

1999: TheYear in Review

highlight of Fiscal Year 1999, the second year of Chairman Bill Ivey’s leadership of the Arts

Endowment, was the release and public dissemination of the agency’s new strategic plan

for the years 1999-2004. The plan was developed the preceding year by agency staff, based on the

Chairman’s priorities, through a process of analyzing and reshaping the NEA’s vision, mission and

goals. State arts agencies, regional arts organizations and arts service organizations were consulted during the plan’s formulation. As required for all federal agencies by the Government

Performance and Results Act, the plan includes specific program goals with measurable outcomes.

Goals, objectives and measures in the broad areas of access, creativity, arts education, heritage

preservation, organizational stability, community arts development and partnerships are set forth

in the final plan, available on the NEA Web site at www.arts.gov.

Based on the strategic plan, during Fiscal Year 1999 Chairman Ivey first proposed the Challenge

America initiative that was included in President Clinton’s budget request to Congress for futureyear funding. The proposed initiative targets support to arts education, services for young people, cultural heritage, community partnerships and expanded access to the arts. The same year,

Chairman Ivey traveled extensively throughout the country, giving speeches and meeting with

leaders of cultural, business, education and civic groups, including the U.S. Conference of Mayors,

chambers of commerce and Rotary Clubs.

Total appropriated funds for Fiscal Year 1999 were $97,966,000, down slightly from the 1998 level

of $98,000,000 due to an across-the-board rescission enacted by Congress to offset the Emergency

Oil and Gas Bill. During 1999, the Endowment continued its activities in accordance with the

1998-enacted Congressional mandates: a 15 percent cap on the

total amount of NEA grant funds awarded to arts organizations

in any one state, excluding projects of national significance or

multi-state impact; an ongoing emphasis on agency outreach

through projects for underserved populations; and the distribution of 40 percent of agency grant funds to the 56 state and

jurisdictional art agencies.

In Fiscal Year 1999 the Endowment awarded over 1,600 grants

totaling $82.6 million in the areas of Grants to Organizations,

Grants to Individuals, Partnership Agreements and Leadership

Initiatives. The ArtsREACH program, which began in Fiscal

Year 1998 and served 20 states previously underrepresented in

the agency’s pool of direct grant recipients, again funded the

TheYear inReview

The National Endowment for the Arts, an investment in America’s living cultural heritage, was

established by Congress in 1965 as an independent federal agency. Its mission is to serve

the public good by nurturing human creativity, supporting community spirit, and fostering

appreciation of the excellence and diversity of our nation’s artistic accomplishments.

A grant to the Da Camera

Society of Mount Saint

Mary’s College in Los

Angeles supported 12

Chamber Music in Historic

Sites concerts and related

outreach activities.

Featured here is violinist

Kyoko Kashiwagi of the

Amernet String Quartet

with students from the

Utah Street Elementary

School. Photo courtesy of

the Da Camera Society

A

19 9 9 A N N UA L R E P O R T
development and implementation of local cultural plans

through community partnerships of arts and non-arts organizations. During its first year, the program increased the number of NEA direct grants in the targeted states by more than

350 percent.

The Folk & Traditional Arts Infrastructure Initiative, also begun in 1998, continued to serve the

folk and traditional arts nationwide by funding research, documentation and preservation, professional staff support, and broad dissemination of art forms through instruction, performances

and exhibitions. New in 1999 was a partnership project with the U.S. Department of Justice’s

Office of Juvenile Justice and Delinquency Prevention that aims to prevent juvenile crime through

participation in arts programs. The Endowment also helped Americans celebrate the arrival of the

new millennium by funding a wide range of National Millennium Projects, bringing new artistic works to new audiences and communities across the country.

During 1999, the Endowment conducted a comprehensive assessment of its support for arts organizational development through Planning & Stabilization grants. The agency convened leaders

from the cultural, educational, philanthropic, technological and business sectors in a series of nine

colloquia held in Washington, D.C. that were open to the arts community. The series examined

such issues as audience development, funding partnerships, information technology, leadership

development and capitalization strategies for arts organizations.

The Endowment further served the arts field and the public by expanding the resources available

on its Web site. An example is Lessons Learned: A Planning Toolsite, an on-line collection of articles by arts professionals in the areas of audience building, capital campaigns, strategic planning,

community partnerships and social enterprise.

Six seats on the 20-member National Council on the Arts again were designated by law for

Congressional members serving in a non-voting,ex officio capacity. Other Council members were

private citizens appointed by the President and confirmed by the Senate. The Council continued to advise the Chairman on policies and programs; screen nominations from the public

for the National Medal of Arts; and provide a second level of grant proposal review. Panels

of experts, including arts professionals and knowledgeable laypersons, provided the initial review of all grant applications.

This publication reflects the Endowment’s grantmaking structure that began in Fiscal Year

1997 and remains in effect. It presents a representative sampling of the agency’s activities that took place between October 1, 1998 and September 30, 1999. The year’s

financial transactions and a history of NEA appropriations are included at the end.

Grant applications, publications, research reports, the NEA’s strategic plan and

complete lists of Fiscal Year 1999 grants, cooperative agreements and interagency transfers are available on the Endowment’s Web site at www.arts.gov.

These items may also be obtained by written request to the NEA Office of

Communications, or by calling the National Endowment for the Arts at 202-682-5400.

Points of Departure: Art on the

Line is a series of site-specific

installations in historic train

stations along Philadelphia’s

Main Line developed by the

Main Line Art Center in

Haverford, Pennsylvania.

Pictured here is Lounge 1999

by artist Kay Rosen at the

Wynnewood Station. Photo by

Gregory Benson

Caroline Clay portrays 

a saxophone player searching

for her sound in this scene

from Oo-Bla-Dee performed

by the Goodman

Theater/Chicago Theater

Group in Chicago. Photo by

Liz Lauren

5
National Council on the Arts

6

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

Member whose term expired in 1998*

Judith O. Rubin

State Arts Council Member 

New York, NY

Members whose terms expire in 2000

Patrick D. Davidson

Television Producer 

Camarillo, CA

Terry H. Evans

Photographer

Chicago, IL

Ronnie F. Heyman

Patron, Trustee

New York, NY

Speight Jenkins

Opera Company Director

Seattle, WA

Richard J. Stern

Patron, Trustee

Chicago, IL

Luis Valdez

Theater Company Director

San Juan Bautista, CA

Townsend D. Wolfe III

Museum Director

Little Rock, AR

*Continues to serve until a 

successor takes office.

Members whose terms expire in 2002

Joy Harjo

Poet, Musician

Honolulu, HI

Nathan Leventhal

Arts Presenter

New York, NY

Marsha Mason

Actress, Director

Santa Fe, NM

Joan Specter

Arts Patron

Philadelphia, PA

Members whose terms expire in 2004

Gordon Davidson

Theater Director/Producer

Los Angeles, CA

Cleo Parker Robinson

Dance Company Director/Choreographer

Denver, CO

Ex officio members 

(terms expire in 2000)

Cass Ballenger (R-NC)

U. S. House of Representatives

Hickory, NC

Mike DeWine (R-OH)

U.S. Senate

Columbus, OH

Richard J. Durbin (D-IL)

U.S. Senate

Springfield, IL

Nita M. Lowey (D-NY)

U.S. House of Representatives

Harrison, NY

Jeff Sessions (R-AL)

U.S. Senate

Mobile, AL

(vacant)

U.S. House of Representatives

Bill Ivey, Chairman
Fiscal Year 1999 Facts

Grants to Organizations

Number of Grant 

Applications Received: 2,317

Number of Grants 

Awarded: 1,368

Dollar Amount of Grants

Awarded: $38,890,067

7

hrough its Creation & Presentation grants, the Arts

Endowment assists in the creation of artistic work

and encourages the public presentation of art forms from all

cultures and time periods. Creation & Presentation was the

largest award category in Fiscal Year 1999, receiving 43 percent of all Grants to Organizations applications. Funded

projects provide resources for artists to create their work

through such activities as commissions, residencies,

rehearsals, workshops and design charrettes.

Projects also facilitate the public presentation of the arts to

audiences in a variety of formal and informal settings, from performances and exhibitions to publications, radio and television broadcasts, and new technologies. Creation &

Presentation grants sustain the development of artistic creativity and

bring to the American people the rich cultural legacy of their

nation and the world.

These projects represent the core creative activities of most artistic disciplines and cover an extraordinary range of aesthetic perspectives, scale of institution and geographic location. Most of

these grants were for the public presentation of works, often

including related educational and interpretive activities.

Grants to Organizations

T

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

Creation & Presentation

The National Endowment for the Arts offers assistance to

a wide range of nonprofit organizations to support their

arts programming. The Endowment funds exemplary

projects in all artistic disciplines including dance, design,

folk and traditional arts, literature, media arts, music,

musical theater, opera, theater and visual arts in addition

to supporting arts education, museum, presenting and

multidisciplinary projects. All grants must be matched at

least equally by non-federal sources of funds. A complete listing of the year’s grants is posted on the

Endowment’s Web site at www.arts.gov.

Fiscal Year 1999 Facts 

Creation & Presentation

Number of Grant 

Applications Received: 987

Number of Grants 

Awarded: 643

Dollar Amount of Grants

Awarded: $17,165,950

Memphis, a signature piece for Ballet Memphis choreographed by Trey McIntyre,

celebrates the rich musical heritage of Memphis and its impact around the world.

Photo by Barry Thompson
Grants to Organizations 

8

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

Many new performing arts works have been created with Arts Endowment funds. In 1999, a grant

was awarded to the Zivili Kolo Ensemble of Granville, Ohio to support the production of a new

work, inspired by the company’s 1997 performance tour of refugee camps in Hungary, Slovenia,

Croatia and Bosnia. The work incorporated traditional dance and folk music, as well as photographs, video and narrative voiceovers to tell the stories of the refugee communities. In

Manchester, New Hampshire, the Alliance for Progress of Hispanic Americans received a grant on

behalf of the Alpha Teen Theatre to commission two playwrights to create new work during

extended residencies with young people.

Visual arts projects funded by the Endowment include a wide variety of activities. For example,

Project Row Houses is a public art project that has helped revitalize one of the poorest neighborhoods in Houston, Texas. In its first four years, this organization renovated 22 abandoned row

houses, presented 50 artists’ installations, implemented a series of literary and performance events,

and hosted summer and after-school programs for youth. The Endowment’s 1999 grant to Project

Row Houses supported residencies and installations by eight artists from four countries.

Museums and art centers across the country hosted a diverse range of public exhibitions with

Endowment funds. In Newcastle, Maine, the Watershed Center for the Ceramic Arts received a

grant to support an international symposium and two-week residency for 10 artists to create new

work. The artists, hailing from across the United States as well as Europe and South America,

opened their studios to local residents. Space One Eleven in Birmingham, Alabama curated an

exhibition of contemporary Southern artists, hosted in four venues around the city, with its grant.

The world premiere of Concerto for Sabar Drums and Orchestra by American composer James DeMars featured African

drum and dance ensembles performing with the Phoenix Symphony. Photo by Michael Schwartz for the Phoenix Symphony
9

And in New York City, the Museum for African Art

received a grant for the touring exhibition Liberated

Voices: Contemporary South African Art Since Mandela,

which traveled to five other American venues as well as

to Johannesburg.

Among the most effective means for disseminating the arts

are literary publications and radio and television broadcasts.

For example, the Endowment funded the Latin American

Literary Review Press, based in Pittsburgh, to publish fiction

by Latino and Latina writers in English translation and

present public readings by selected authors in four cities.

Listeners around the country were able to enjoy the weekly radio programs Beale Street Caravan, featuring blues

artists, and Marian McPartland’s Piano Jazz, thanks to

Endowment grants to the Blues Foundation in Memphis,

Tennessee and the ETV Endowment of South Carolina

respectively. National Public Radio distributes both series.

Some 1999 Creation & Presentation grants funded projects celebrating the new millennium, such as a grant to

the Des Moines Symphony in Iowa for activities that

included the premiere performance of a work by composer David Ott recognizing 20th-century space

travel. A grant to the Los Angeles Poetry Festival

supported the Fin de Millennium Poetry

Festival, a city-wide celebration. In Seattle, On

the Boards produced Redefining Performance at

the Turn of the Century — An Interdisciplinary

Approach, a project comprising five intensive creation and performance residencies.

Arts Endowment funds have broad geographic distribution through this category. Creation &

Presentation grants were made directly to 48 states, the District of Columbia, and Puerto Rico.

In addition, 172 of the 643 grants went toward multi-state projects that toured or were distributed across state lines, broadening the impact of the federal investment. For example, a grant

to the Academy of Indian Performing Arts, Inc. in Lincoln, Massachusetts helped make possible a national tour of Kanya, a multimedia work based on Indian classical dance, music and

poetry that traveled to 14 states. Another grant to the Arab Community Center for Economic

and Social Services in Dearborn, Michigan supported a five-state tour of three Arabic traditional music groups.

The Boston Lyric Opera presented a new production of Philip Glass’ Akhnaten in

its Egyptian season as part of its commitment to presenting 20th century operas.

Photo by Richard Feldman
Grants to Organizations 19 9 9 A N N UA L R E P O R T

he Arts Endowment maintains that all Americans

should have lifelong opportunities to experience the

arts as learners, creators and audience members. Education

& Access grants expand opportunities for lifelong arts learning and help make the arts available to all Americans.

Direct grants were awarded to organizations in 49 states, the

District of Columbia, Puerto Rico and the Virgin Islands. Of

the 432 grants, 103 had multi-state impact. For example, a

grant was made to the Black Hills Special Services

Cooperative in Sturgis, South Dakota to expand the Prairie Winds Writing Project into neighboring Wyoming. The program benefits both students and teachers, and includes one-on-one

mentorships with professional writers, workshops and publication opportunities.

For students in pre-kindergarten through 12th grade, research has shown

that the development of artistic skills can improve cognition, increase confidence and communication, and enhance the overall learning environment. Frequently, units of state and local governments look to the

Endowment to assist with their projects. For example, the Arts Alliance of

Jackson and Hinds County, in Jackson, Mississippi received an Endowment

grant to provide funding and technical assistance for arts programming in

the two counties. The Arkansas Department of Education was funded for

a consortium project providing professional development for arts teachers, arts-in-education roster artists, and museum docents and faculty.

The Endowment’s Education grants in 1999 encompassed a full range of

learning experiences, such as an award to Young Audiences of Indiana supporting the Cornerstone Dance Project: Positive Interaction through

Dance, born from the Washington Township School District’s desire to

expand the dance curriculum in elementary and middle schools. The

Springfield Symphony Orchestra in Massachusetts used its Endowment

grant to collaborate with the Springfield Science Museum on a project

exploring rhythm in both earth science and music that reached more than

3,000 elementary school students.

A grant to the Brannigan Cultural Center Foundation in Las Cruces, New

Mexico funded Another Planet, a collaborative arts project involving more

than 2,000 middle school students from a low-income community.

Developed in the aftermath of a middle school shooting incident, it brought

T Fiscal Year 1999 Facts 

Education & Access

Number of Grant 

Applications Received: 828

Number of Grants 

Awarded: 432

Dollar Amount of Grants 

Awarded: $12,309,520

10

Florida Stage’s production Yes, I am Talking, You

Just Can’t Hear Me is part of its Young Voices

series. Performed by middle and high school students, these plays address issues such as violence, illiteracy and substance abuse. Photo by

Susan Green

Education & Access
together artists in a variety of disciplines from all

parts of southern New Mexico to conduct classroom

residencies.

Projects emphasizing access to the arts varied widely and included distinct approaches to making the

arts available to all Americans. In Idaho, a grant was

awarded to Boise State University on behalf of

Poetry in Public Places to support Idaho Skylights.

This project placed illustrated poetry posters on

school bus ceilings and featured poets and artists

riding the rural, morning bus routes to discuss poetry with students. The Repertory Dance Theatre of

Salt Lake City, Utah traveled to schools in California

and Utah to present a retrospective of 100 years of

modern dance history. A Traveling Jewish Theatre, based in San Francisco, mounted a 20th anniversary, 20-city tour of Diamonds in the Dark, a new work celebrating Yiddish poetry.

The Endowment also helped make possible high-impact projects reaching underserved communities and people with disabilities. A grant to the Grass Roots Art and Community Efforts

(GRACE) of Hardwick, Vermont funded community arts workshops for developmentally disabled

adults and children in a rural and economically depressed region of Vermont. The project is an

expansion of GRACE’s successful model in nearby Greensboro, which provides participants with

increased opportunities for personal growth and avenues for self-expression. GRACE also provides assistance to groups across the country that wish to start similar programs.

Another example is the grant to the Atlanta Opera that supported the company’s education and

outreach program for students who are mentally and physically challenged. Performed by the

Atlanta Opera Studio, which tours one-act operas in English for young audiences, the project

includes free performances with audio description and sign interpretation as well as workshops

designed for students with special needs. Communities of Faith for Housing in Hoboken, New

Jersey, received a grant to expand the Creative Writing Workshop at the Hoboken Homeless

Shelter and increase the circulation of its quarterly anthology, Pieces from Wandering Minds.

Other funded projects exposed participants to various ethnic art forms. These included a multidisciplinary residency project developed by the Sheboygan Arts Foundation in Wisconsin in which

traditional artists from the Hmong, Hispanic, and blue-collar German and Dutch communities

collaborated with local teens to create works in dance, writing, photography and sculpture. The

Montana Indian Art and Culture Association presented a weekend festival, Renaissance of the

Bozeman Trail, that showcased Native American artists working in both traditional and contemporary forms, and provided opportunities for people of other cultures to learn about Native

Americans in their community.

11

Kimberly Van Pett, a French horn player with the North Carolina Symphony

Orchestra in Raleigh, at the orchestra’s instrument petting zoo. Photo by Karen Tam
Grants to Organizations

12

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

he diverse artistic heritage of the United States is

unique in the world. The Endowment’s purposes

through Heritage & Preservation grants are to honor, assist

and make visible those artists and forms of artistic expression

that reflect this diversity; preserve significant artistic accomplishments of America’s many cultures; and conserve important works of art. Heritage & Preservation projects were

funded in 37 states, the District of Columbia, Puerto Rico

and the Virgin Islands. Forty-five of the 169 grants have

multi-state impact.

Heritage projects supported by the Endowment ranged from the creation of

a 45-foot totem pole on the Makah Reservation in Neah Bay, Washington to

the performance of orchestral gospel music by the Evansville Philharmonic

Orchestra in Indiana. Elders of the Apache Tribe of Oklahoma taught workshops in traditional tribal crafts to younger tribal members. The Florida

Division of Historical Resources received a grant for the statewide Florida

Folklife Apprenticeship Program. The third annual Festival of Kentucky

Folklife was funded by a grant to the Kentucky Historical Society in Frankfort.

In New York, the Jewish Heritage Writing Project received a grant that pairs Holocaust survivors

with young, established writers to produce publishable memoirs. In Philadelphia, the Endowment

supported the public events associated with Moonstone, Inc.’s 16th Annual Celebration of Black

Writing. And in Washington, D.C., the Endowment sponsored the Seventh Annual Independence

Day Concert at the Washington Monument and its National Public Radio broadcast, which

reached approximately 350,000 people.

Preservation projects funded in 1999 included a broad spectrum of artistic disciplines. A grant

to the Grace Cathedral in San Francisco restored 35 Gothic Revival stained glass windows dating

from 1930 to 1945. Another grant supported the structural restoration of Fallingwater, a National

Historic Landmark in Mill Run, Pennsylvania designed by Frank Lloyd Wright in 1935. Southern

Methodist University in Dallas, Texas received funding for the restoration, documentation and

performance of three musical theater ballets by the legendary choreographer Agnes de Mille.

In the area of film preservation, New York’s Museum of Modern Art, which saves over 100 films

each year from disintegration, preserved important early films including works by Charlie

Chaplin, D.W. Griffiths and Tom Mix; the 1917 production of A Tale of Two Cities; and the 1925

John Ford picture, Kentucky Pride, among others. In the visual arts, the Endowment supported a

conservation survey of five public artworks in the Boston subway system, as part of the

Massachusetts Bay Transportation Authority’s Adopt the Arts program.

Fiscal Year 1999 Facts 

Heritage & Preservation

Number of Grant 

Applications Received: 270

Number of Grants 

Awarded: 169

Dollar Amount of Grants

Awarded: $3,548,000

T

Heritage & Preservation

The exhibition Lions &

Eagles & Bulls: Early

American Tavern & Inn

Signs from The

Connecticut Historical

Society displayed the

society’s collection of

18th and 19th century

sign paintings. Photo

courtesy of the

Williamstown Art

Conservation Center
13

The International Center for Photography in New York City and George Eastman House in Rochester, New York joined together for Focus on

Photography, a project that provides broader access to the collections and resources of these two institutions. Featured here is a still from Frank

Powell’s 1914 film, The Stain. Photo courtesy of George Eastman House
merica’s nonprofit arts organizations, large and small,

constantly seek to improve their financial and administrative structures so as to effectively carry out their work.

Through Planning & Stabilization grants, the Arts Endowment

strengthens the ability of arts organizations to realize their goals.

Planning grants help an organization assess its strengths and

weaknesses. Funded projects may be comprehensive, including all areas of operations, or

targeted, focusing on specific

activities. Planning & Stabilization grants included $957,500 awarded to arts service organizations such as the American Symphony

Orchestra League, Dance/USA, Theatre Communications Group

and Opera America for projects serving their fields.

Some funded projects develop strategies for building partnerships

and resources among a group of organizations linked by geography,

programming, artistic field or mission. Such a grant was awarded to

the Nebraska Arts Council on behalf of a consortium of 10 small and

mid-size Nebraska arts organizations to obtain financial planning

and technical assistance.

Stabilization grants help organizations realize their appropriate institutional size; maximize and diversify their resources; or enhance

their abilities to serve their constituents. For example, the Arts

Council of Oklahoma City provided the Stage Center performing

arts facility with computer technology capable of building a collective database to market the Center and at least five participating local

theater companies. A grant to Heart of the Beast Theatre in

Minneapolis supported an initiative designed to secure increased

earned and contributed income for the organization.

A number of 1999 grants facilitated long-range planning, marketing

assessments and/or feasibility studies. One example is the grant

awarded to Young Aspirations/Young Artists (YA/YA) of New

Orleans, Louisiana for a year-long evaluation of its achievements

over the past ten years — a period in which the organization helped

Grants to Organizations

A

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

Planning & Stabilization

Fiscal Year1999 Facts 

Planning & Stabilization

Number of Grant 

Applications Received: 232

Number of Grants 

Awarded: 124

Dollar Amount of Grants 

Awarded: $5,866,597

Wolf Trap Institute Artist Keter Betts and a preschooler explore music together at the

Barns of Wolf Trap in Vienna, Virginia, where a Planning & Stabilization grant will

support Wolf Trap’s endowment. Photo by Scott Suchman

14
talented, inner-city youth work with professional artists to develop marketable skills. The planning grant allowed YA/YA to assess its training, governance, community involvement and

fundraising needs and look to the next decade. The Arizona Opera Company used its grant to hire

a consultant who will restructure the organization and develop a five-year plan assessing the organization’s financial health.

Some stabilization grants help arts organizations strengthen their institutional capacity by establishing or augmenting a term endowment or term cash reserve. These grants must be matched at

least three-to-one by non-federal sources. Forty-seven such grants were awarded in 1999 to organizations such as Young Audiences of Massachusetts, the New York City Ballet, North Dakota’s

Bismarck-Mandan Orchestral Association, the American Music Theatre Festival of Philadelphia,

Indiana’s South Bend Symphony Orchestra and Washington State’s Tacoma Art Museum.

15

An outdoor performance of The Tempest at Shakespeare & Company’s Summer Training Institute. Shakespeare & Company

in Lenox, Massachusetts received a grant to augment its existing cash reserve. Photo by Kevin Sprangue
iterature Fellowships represent one of the Arts Endowment’s most direct investments in

American creativity by supporting writers in the development of their work. The program’s

goal is to encourage the production of new work by affording artists the time and means to write.

Simultaneously, the fellowships give writers national recognition and invaluable validation of their

talent to peers, agents, publishers and presenters around the country. Fellowships are awarded in

alternate years for poetry and prose.

Creative Writing Fellowships: Poetry

Grants to Individuals

16

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

Literature Fellowships

“How can you say you don’t think you’ve led

a very interesting life? Take your nine

years and consider this one thing in them:

texture.”

The opening lines of Importance by 

fellowship recipient Julie Jordan Hanson 

of Cedar Rapids, Iowa. Photo courtesy of the artist

Craig Anthony Arnold Salt Lake City, UT

Marianne Boruch West Lafayette, IN

Kim Suzanne Bridgford Wallingford, CT

Lucie Brock-Broido Cambridge, MA

Joel R. Brouwer II East Lansing, MI

Derick W. Burleson Houston, TX

Anne Caston Lexington Park, MD

Nancy L. Couto Ithaca, NY

George Economou Norman, OK

Maurya Simon Falk Mt. Baldy, CA

Mary Elizabeth Fisk Nevada City, CA

Sarah Elizabeth Fox Minneapolis, MN

Christine E. Garren Greensboro, NC

Sonia G. Gernes South Bend, IN

Robert Alan Gibb Homestead, PA

Julie Jordan Hanson Cedar Rapids, IA

Dainis Hazners Story, WY

Robert Hicok Ann Arbor, MI

Peter M. Jacobs Madison, WI

Peter M. Johnson Providence, RI

Dana Levin Ukiah, CA

Sarah Messer North Marshfield, MA

Wendy M. Mnookin Chestnut Hill, MA

Jacqueline S. Osherow Salt Lake City, UT

John J. Ronan Gloucester, MA

Jill Allyn Rosser Athens, OH

Vijay R. Seshadri Brooklyn, NY

Lisa Sewell Fort Worth, TX

David James Smith Fresno, CA

Michael Leon Stokesbury Doraville, GA

Russell William Thorburn Marquette, MI

Natasha Trethewey Auburn, AL
The Endowment’s investment in American letters has helped ensure that a diversity of voices

defines our national literature. It has also fostered talent within a marketplace that often rewards

homogeneity more than innovation, demonstrated by the fact that six individual authors accounted for 63 of the top 100 best-selling books of the 1990’s. During the past 33 years, the Endowment

has awarded $36 million through its Literature Fellowships to 2,360 writers, providing support to

lesser-known authors who later achieve national stature. These writers include some of the most

acclaimed poets of our time, such as Robert Pinsky, Rita Dove, Philip Levine, Louise Glück and

Frances Mayes.

The competition for the $20,000 Fellowships is extremely rigorous. Of 942 applicants in Fiscal Year 1999, 32 were awarded

grants, a funding rate of three percent. This year’s recipients

include Robert Gibb, who is completing the second and third

volumes of a trilogy of poetry books exploring the mill town

of Homestead, Pennsylvania. Another 1999 recipient, Natasha

Trethewey, is completing a manuscript of poems based on the

life of an early 20th-century New Orleans woman portrayed in

E.J. Bellocq’s Storyville Portraits. Eight of this year’s grants supported the translation into English of poetry from other languages.

Translation Fellowships

Florence Chana Bloch Berkeley, CA

John T. DuVal Fayetteville, AR

Lois Baker Janzer Portland, OR

Bill Johnston St. Paul, MN

Pierre Joris Albany, NY

Nina Kossman Long Island City, NY

Khaled Mattawa Chapel Hill, NC

Lawrence Venuti New York, NY

17

“I’m cooking Thai—you bring the beer.

The same order, although it’s been a year

—friendships based on food are rarely stable.

We should have left ours at the table.”

The opening lines of Hot by fellowship recipient Craig Arnold of

Salt Lake City, Utah. Photo by Sean Graff
he arrival of a new millennium presents all Americans with an opportunity to reflect on our

nation’s rich musical history. America brought to the world the gift of jazz — music that

has been an outstanding influence on our cultural heritage throughout the 20th century and called

by Congress a “national treasure.”

Each year, the National Endowment for the Arts recognizes the importance of jazz and honors living jazz masters for their artistic vision and long-lasting, unique contributions by awarding the

American Jazz Masters Fellowships. This year’s distinguished recipients of the $20,000 awards, presented by Chairman Ivey, were: David Baker, dedicated jazz educator and music director of the

Smithsonian Jazz Masterworks Orchestra; Donald Byrd, pioneer trumpet virtuoso and leading

educator; and improvisational pianist Marian McPartland, host of the Peabody Award-winning

radio series, Piano Jazz. Their names will be added to the roster of 55 other members who, since

1982, have been awarded the American Jazz Masters Fellowships.

“Every day I try to live up to the standards that were taught

to me by my father. He told me that my life should be ‘not

honor, but service.’ He also said ‘If I am not the best, be

among the best.’”

Donald Byrd

“I love being part of the jazz world and music education . . .

I want to give back something in return for all the many 

wonderful opportunities that have been given to me during

my lifetime.”

Marian McPartland

“This award is especially meaningful to me because it symbolizes the commitment of the Endowment and of our country to

recognize in a formal way the contributions American jazz

artists have made to the world of music.”

David Baker

American Jazz Masters Fellowships

Grants to Individuals

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

T

Photo by Bob Day

Photo by John Abbott

Photo by Matt McClain
19

A Lakota-Hidatsa storyteller passes on tales of her tribal heritage to Indian youth of the

Dakotas. A Mexican-American craftsman takes his western horsehair braiding tradition to

a new level of perfection. An Irish immigrant musician sparks a renaissance of Irish music across

America. These and other recipients of the nation’s highest honor in the folk and traditional arts

— the NEA’s National Heritage Fellowship — have devoted their lives as innovators, teachers,

organizers, role models and “living libraries” of knowledge to conserve and renew their deeplyrooted, living cultural heritage.

In Fiscal Year 1999, 13 artists from 12 states were awarded National Heritage

Fellowships of $10,000 each in a ceremony held on Capitol Hill that was

attended by First Lady Hillary Rodham Clinton, members of Congress and the

public. The awardees later presented their craft, music and dance traditions in

a performance that was broadcast widely on public radio stations.

A

National Heritage Fellowships

National Heritage Fellows 

Frisner Augustin 

Haitian Drummer

Brooklyn, NY

Lila Greengrass Blackdeer

Hocak Black Ash Basketmaker/Needleworker

Black River Falls, WI

Shirley Caesar 

African-American Gospel Singer

Durham, NC

Alfredo Campos

Horse-Hair Hitcher

Federal Way, WA

Mary Louise Defender-Wilson 

Dakotah-Hidatsa Traditionalist/Storyteller 

Shields, ND

Jimmy “Slyde” Godbolt

Tap Dancer

Hanson, MA

Ulysses “Uly” Goode

Western Mono Basketmaker

North Fork, CA

Bob Holt

Ozark Fiddler

Ava, MO

Zakir Hussain

North Indian Master Tabla Drummer 

San Anselmo, CA

Elliott “Ellie” Mannette 

Steel Pan Builder/Tuner/Player 

Morgantown, WV

Mick Moloney

Irish Musician

Philadelphia, PA

Eudokia Sorochaniuk 

Ukrainian Weaver/Textile Artist 

Pennsauken, NJ

Ralph W. Stanley

Master Boatbuilder

Southwest Harbor, ME

Zakir Hussain is hailed as one of the

world’s great percussionists for his

stellar technique, musicality, rhythmic

complexity and melodic versatility.

Photo by John Werner

Ralph Stanley has built and/or 

restored countless wooden boats,

ranging from lobster vessels to racing

sloops and pleasure yachts with his

meticulous attention to fine workmanship, traditional process and design.

Photo by Craig Milner
tate arts agencies used their federal and state

appropriated funds in 1999 to support more than

27,000 projects in over 5,600 communities. Twenty-eight

percent of these grants went directly to smaller communities outside major metropolitan areas. Endowment

funds for preservation of cultural heritage, developing

arts groups, cultural tourism initiatives, artist residencies, after school and summer youth arts programs and

other projects helped promote community development

through the arts.

For example, citizens of tiny Lake City, Colorado prepared to document the turn of the millennium through the arts. Script-writing sessions involving a playwright and community members will lead to production of a musical and a play based

on real characters of Lake City’s past. Two ceramic artists worked with 20 people to construct a

paper kiln and taught them the basics of tile design and production. They will use their new skills

to create a collective tile mural reflecting the area’s history.

The Endowment’s arts education partnership with

state arts agencies helped bring the benefits of comprehensive arts education to grade K-12 students in

over 2,600 communities. Federal and state funds provided for arts curriculum development, collaborations between schools and local arts groups, artist

residencies in schools, professional development for

artists and teachers, and partnerships with state education departments.

The Connecticut Commission on the Arts’ HOT

(Higher Order Thinking) Schools© Program, supported by the NEA, uses the arts as a key pathway to

State and Regional Partnerships

20

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

The Arts Endowment greatly extends its impact through its partnerships with the 56 state and

jurisdictional arts agencies and their seven multi-state regional organizations. In Fiscal Year

1999, Partnership Agreements helped support local, state and regional arts activities for children

and adults across the nation. A complete listing of Partnership Agreements is available online

at www.arts.gov.

Fiscal Year 1999 Facts 

State and Regional 

Partnerships

Dollar Amount of Partnership 

Agreements: $33,827,175

Forty percent of Endowment

grant funds are awarded to state

and regional arts agencies

through these agreements.

Ida Pearl Davis works on traditional split oak baskets at the 1999

Governor’s Regional Conference on the Arts sponsored by the

Tennessee Arts Commission. Photo by Timothy Weber, Tennessee

Arts Commission
developing higher order thinking skills. The

Commission works with 24 schools across the state to

involve over 5,000 students and 500 educators from

diverse communities. Educators welcome parents

into the school and teachers adapt the curriculum to

learners’ needs. Child-centered education is achieved

through strategies such as The Magical Mailbox©,

which serves as a repository and distribution point

for student writing and artwork. HOT Schools© celebrate student writing at every opportunity.

The Endowment’s partnership with state arts agencies is an important source of assistance to other arts

organizations in each of the states. The state arts

agencies use approximately 46 percent of their combined state and federal grant dollars to fund operations and professional support of their constituent

arts organizations. Funds assist performing groups,

museums and galleries, small presses and literary

organizations, local arts agencies, arts festivals and

arts centers and facilities. The Endowment’s state

partnerships also assist individual artists. State arts

agencies awarded grants for artist residencies, performances, fellowships, artwork creation and

apprenticeships.

The Endowment also awarded Partnership

Agreements to seven regional arts organizations, created to transcend state boundaries and provide

access to a greater variety of arts experiences, especially in underserved areas. In 1999 these organizations used NEA funds to support 1,368 touring

performances and 2,523 related school or community activities. As an example, the Southern Arts

Federation used its Partnership Agreement funds to

award $225,203 to community arts presenters in its

nine member states. The Federation’s grant-supported programs brought touring performing

groups to over 300,000 people.

21

Through the State Foundation on Culture and the Arts in Hawaii

the NEA helped support the Honolulu Theatre for Youth in its 

production of The Short Tree & the Bird That Couldn’t Sing by

Dennis Foon. Photo by Karl S. Hedberg

The Montana Arts Council’s Artists in Schools and

Communities program supported a media arts residency in the Hinsdale public schools. Photo courtesy

of the Montana Arts Council
he National Endowment for the Arts has joined with

the White House and other organizations nationwide

to honor the past and imagine the future at the turn of the

millennium by supporting projects of national scope and

impact. Designated by the White House Millennium Council

as Official Millennium Projects, they showcase the best of the

arts in every state and invite community residents to become part of the creative process. Joining

five National Millennium Projects announced in 1998 are the following:

Arts on Millennium Trails supports the creation of high quality, community-centered,

public art projects along the 50 Millennium Legacy Trails that the U.S. Department of

Transportation has designated in 47 states, the Virgin Islands, Puerto Rico and the

District of Columbia. It is administered by the National Assembly of State Arts Agencies.

LIVE! at the Library 2000, coordinated by the American Library Association, links

libraries, artists and audiences through special appearances by artists and writers at

libraries nationwide. The project uses the arts to interpret contemporary topics such as

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

The Mars Millennium Project is an interdisciplinary learning project sponsored in partnership

with the U.S. Department of Education, the National Aeronautics and Space Administration

(NASA) and its Jet Propulsion Laboratory, and the J. Paul Getty Trust. Thousands of students

nationwide in grades K-12 are working with educators, artists, scientists and community leaders, weaving the arts, sciences and humanities together to design model communities for life on

Mars in the year 2030.Treasures of American Film Archives, a collaboration of the National Film

Preservation Foundation and 18 major film archives from Alaska to West Virginia, preserves and

screens “orphan,” or noncommercial, films from the past century. The project also features the

production of a 11-hour DVD anthology distributed free to state libraries across the country.

Through its Leadership Initiatives, the Arts Endowment

develops and implements groundbreaking projects with

impact for significant numbers of Americans and the arts

field. These initiatives are frequently undertaken in collaboration with nonprofit organizations or other federal agencies. Projects may assist touring programs that reach areas of the country with limited arts

resources; develop design models and practices that make communities more livable; or develop quality programs for in-school instruction as well as lifelong learning in the arts.

As a complement to the Endowment’s principal grantmaking activity, Leadership Initiatives

allow the agency to address special needs or realize unique opportunities, ensuring that the

arts are accessible to all Americans and encouraging arts organizations and artists to reach

new levels of creative achievement. A complete listing of Leadership Initiatives is available

online at www.arts.gov.

Leadership Initiatives

22

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

National Millennium Projects

In Fiscal Year 1999, funding

for Leadership Initiatives

totaled $8,406,421.

Funding for National

Millennium Projects totaled

$2,116,886 and supported

arts activities in all 50

states.

Marian Anderson’s

Concert at the Lincoln

Memorial (1939)

Newsreel outtakes of

this historic concert

were preserved by the

UCLA Film and

Television Archive as

part of Treasures of

American Film

Archives. Photo courtesy

of the National Film

Preservation Foundation
23

he Endowment’s primary investment in international

exchanges is through its support of partnerships

between the private sector and other government agencies. In

addition to demonstrating the excellence, diversity and vitality of American arts to audiences around the world, these

programs help build a foundation of trust and understanding between the U.S. and other countries and provide unique

experiences for American artists.

The ArtsLink partnership focuses on arts exchanges with Eastern and Central

Europe and the Newly Independent States. It supports U.S. artists’ work with colleagues in that part of the world and assists organizations in the U.S. hosting fiveweek residencies for artists or arts administrators. This year, 18 projects were funded

involving countries ranging from Russia and Poland to Armenia, Estonia, Croatia

and Romania. In the U.S., organizations such as the Cincinnati Ballet, the School

of the Art Institute of Chicago, Illusion Theater in Minneapolis, and Hand Print

Workshop International in Alexandria, Virginia were among those that hosted 42

artists and arts administrators from the region. The NEA’s partners in ArtsLink were

the Open Society Institute/Soros Foundation, the Trust for Mutual Understanding,

CEC International Partners, the Kettering Fund and the Ohio Arts Council.

The Fund for U.S. Artists at International Festivals and Exhibitions, administered

by Arts International, continued to support approximately 100 U.S. artists at performing arts festivals around the world in a wide range of events. For example, Sweet Honey in

the Rock of Takoma Park, Maryland participated in the La Villette Jazz Festival in Paris with a program of songs from the African-American a capella tradition. The Bill T. Jones/Arnie Zane Dance

Company of New York City performed in Africa for the first time at the Standard National Bank

Arts Festival in Johannesburg. In the visual arts, the Fund supported a site-specific installation by

acclaimed artist Ann Hamilton of Columbus, Ohio at the 1999 Venice Biennale. The NEA’s partners in the Fund are the U.S. Department of State, the Rockefeller Foundation and the Pew

Charitable Trusts.

The U.S.-Japan Creative Artists’ Program, the Endowment’s long-standing partnership with the

Japan-U.S. Friendship Commission, again supported five artists for six-month residencies in Japan

to help them advance their creative work. This program is one of the NEA’s oldest interagency

activities and stands as an important symbol of good will between the two countries. Among the

artists participating this year were New York graphic artist John Mazzucchelli, who investigated

Japanese visual storytelling in both traditional and modern methods, and composer Gene Allan

Coleman from Chicago, who collaborated with Japanese composers and performers in traditional

and western forms of music.

T

International Exchanges

The $375,000 provided in 

Fiscal Year 1999 for 

international exchanges 

leveraged approximately

$1.7 million from other 

partners.

The New York Citybased modern dance

ensemble, Susan

Marshall & Company,

performed The Most

Dangerous Room in the

House at the Edinburgh

International Festival

with support from the

NEA’s Fund for U.S.

Artists at International

Festivals and

Exhibitions. Photo by

Geoffrey M. Hansen
24

Leadership Initiatives

he AccessAbility Office is the Endowment’s advocacy and technical assistance arm for older

adults, individuals with disabilities and people living in institutions, including long-term

care settings. The Office works with grantees, applicants, organizations representing these citizens

and other federal agencies to help make the arts more readily available to the targeted populations.

The Arts Endowment continued its leadership in universal design, the design of products and

spaces usable by all people from children to older adults, by convening a meeting in June 1999 of

18 universal design experts. Design professionals, academics, consumer groups and government

officials assessed the current state of universal design and identified future opportunities for

encouraging and assisting its practice.

The Endowment also began implementing recommendations

from its 1998 National Forum on Careers in the Arts, whose

purpose is to advance careers in the arts for individuals with

disabilities. The NEA renewed its partnership with the other

federal agencies involved in this effort: the U.S. Department of

Education, Department of Health and Human Services, the

Social Security Administration and the John F. Kennedy

Center for the Performing Arts, and convened three summits

in November and December 1999 to develop specific implementation plans.

A policy education meeting in December 1999, co-organized

with the Social Security Administration, focused on issues

faced by many disabled artists who receive sporadic, arts-generated income in addition to government benefits. These discussions led to the creation of the Governor’s Committee on Careers in the Arts for People with

Disabilities for the State of Maryland.

A new project, Access to Design Professionals, produced the first major research on people with

disabilities in design professions. This NEA-supported research, conducted by Adaptive

Environments in Boston, led 40 educators, vocational rehabilitation professionals, designers and

disability experts to gather in Washington, D.C. to create strategies encouraging more disabled

youth to pursue design careers.

The Office also worked with the New England Foundation for the Arts and the Western States Arts

Federation to develop regional access symposia for Fiscal Year 2000 on making the arts fully accessible to older adults and people with disabilities. The Artist-in-Residence project with the U.S.

Department of Justice’s Federal Bureau of Prisons established visual arts programs in Federal

Correctional Institutions in Beaumont, Texas; Greenville, Illinois and Yazoo City, Mississippi.

T

AccessAbility

The National Theater for the Deaf performed at the New England

Foundation for the Arts’ conference Clearing the Path: Art and

Accessibility in New England. Photo by Marilyn Humphries

19 9 9 A N N UA L R E P O R T
25

iscal Year 1999 marked the second year of the

Endowment’s pilot ArtsREACH grants. These

grants provide agency support to organizations in

states previously underrepresented in the agency’s profile of direct grant recipients. They continue the NEA’s

tradition of fostering the application of cultural solutions to local community needs. Following a year of

increased NEA staff contact with all the participating

states, there was a marked increase in grants to organizations in those states through both ArtsREACH and

the four major Grants to Organizations categories.

The participating states were:

ArtsREACH grant funds are designated specifically for community cultural planning, assessment and implementation activities.

Cultural planning brings together local leaders in business, government, education, the arts and other fields to create partnerships

that address community goals. ArtsREACH encourages a wide

range of community partnerships to include the arts as a fundamental component of community development.

Examples of projects supported with Fiscal Year 1999 funds are:

• The Montana Association of Symphony Orchestras in Bozeman

is undertaking a community cultural assessment, addressing

resources, challenges and opportunities for Montana orchestras.

• The University of Arkansas at Little Rock is developing a plan

designating future sites for public art spaces.

• The Upper Cumberland Regional Arts Council in Cookeville, Tennessee is conducting a community cultural assessment and creating a community cultural plan. Information gathered at

public forums by community partners will be used to inventory cultural assets and resources

in 14 counties and develop an automobile tour of the area.

• South Dakotans for the Arts is surveying 200 school districts to help improve arts education

and to integrate this subject into core curricula.

F

ArtsREACH

Fiscal Year1999 Facts

ArtsREACH 

Number of Grant Applications 

Received: 136

Number of Grants Awarded: 84

Dollar Amount of Grants 

Awarded: $749,280

Almost 500 collaborating partners

are involved in the projects 

supported with these grants.

An ArtsREACH grant to the Clay Center for the Arts and

Sciences in Charleston, West Virginia supported a residency

by the Aman Folk Ensemble. Pictured here is the ensemble in

the world premiere of The Immigrants. Photo by Michael Keller

Alabama 

Arkansas 

Delaware 

Idaho

Indiana 

Iowa 

Kansas 

Mississippi 

Montana 

Nebraska 

Nevada 

North Dakota 

Oklahoma 

Rhode Island 

South Carolina 

South Dakota 

Tennessee 

Utah 

West Virginia 

Wyoming
Leadership Initiatives

26

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

iscal Year 1999 also was the second year of the Folk

& Traditional Arts Infrastructure Initiative, a program that addresses the ongoing need for strengthening

the state and regional infrastructure of support for the

folk and traditional arts. The initiative enhances highly

productive partnerships between state arts agencies and

local organizations to increase programming (including

exhibitions, research and education activities), technical

assistance, and financial and material resources for the

nonprofit folk and traditional arts.

Funded projects generally serve three purposes: 1) creating and stabilizing professional folk arts

positions within public institutions; 2) forging and expanding institutional and community partnerships that support the folk and traditional arts; and 3) carrying out research to identify

unknown folk and traditional artists and art forms, connect them with sources of financial and

technical support, and make them publicly visible.

Examples of this year’s funded projects are:

• The Alaska State Council on the Arts is forming a Cultural Center Consortium designed to

assist communication and cooperation among Alaska’s Native culture centers.

• The Indiana Arts Commission is

establishing a system to identify,

document, preserve and promote the

folk arts and artists of Indiana.

• The North Dakota Council on the

Arts is continuing its Traditional Arts

Apprenticeship Program.

• The Southern Arts Federation is

organizing Living Traditions: Folk

Artists of the American South, a traveling exhibition of master folk artists.

F

Folk & Traditional Arts Infrastructure Initiative

Fiscal Year 1999 Facts 

Folk & Traditional Arts

Infrastructure Initiative 

Number of Grant 

Applications Received: 35

Number of Grants Awarded: 32

Dollar Amount of Grants 

Awarded: $810,000

Rod Seitz’s scroll saw clocks, created from Norwegian and Czech traditions, were featured at the Festival of Iowa Folklife. The Iowa Arts Council

received a Folk & Traditional Arts Infrastructure Initiative grant to support

the festival. Photo by Rachelle Saltzman
27

hrough interagency partnerships, the Endowment leverages its budget to better serve the

American public and reach new constituents. During Fiscal Year 1999, the Endowment

announced two joint initiatives through its ongoing partnership with the U.S. Justice

Department’s Office of Juvenile Justice and Delinquency Prevention (OJJDP). The Arts for

Juvenile Offenders in Detention and Corrections program reintegrates juvenile offenders into

their communities by combining the services of arts professionals with those of juvenile detention or corrections staff. In addition to facilitating the youths’ transition back to the community,

the program helps young people continue their learning through the arts. Representatives from

the six program sites in Florida, Washington State, California, New York and Texas came to

Washington, D.C. in October 1998 to kick off this two-year project.

The second initiative, Arts for At-Risk Youth,

involves three sites, one each in Oklahoma,

Pennsylvania and Illinois, that conduct afterschool and summer mentoring, conflict resolution

and training in communications skills. Many participating young people also obtain hands-on

experience in arts professions through internships.

Other technical assistance workshops were conducted through the NEA’s ongoing Conflict

Resolution Education in the Arts partnership

with OJJDP and the National Center for Conflict

Resolution Education. Under this program, workshop participants including artists and arts

administrators are instructed in integrating conflict resolution principles and processes into their

youth programs.

The Arts and Rural Community Assistance Initiative, the Endowment’s partnership project with

the U.S. Forest Service, marked its third year of activity in 1999. This year the initiative focused

on 10 Mountain and Great Plains states in three Forest Service regions. Nineteen grants supported

a wide range of arts-based, rural community development projects. Examples are the first annual International Traditional Games Gathering on the Blackfeet Reservation in Montana; the joint

Nevada Arts Council-Bureau of Land Management traveling photographic exhibition on the wild

horses of the Great Basin; and the (Wyoming) Wind River Heritage Center’s Powwow Primer, a

demonstration that educates visitors to the Wind River Reservation about Arapahoe and

Shoshone dances.

T

Interagency Partnerships

Gallery 37, Chicago’s youth job training program in the arts, received a Coming

Up Taller Award. Sponsored by the President’s Committee on the Arts and the

Humanities in partnership with the NEA, these awards honor outstanding arts and

humanities programs for children that provide them with safe and educational

environments during after-school hours. Photo by Joe Pickett
ther Leadership Initiatives supported by the Endowment during Fiscal Year 

1999 include:

ARTS EDUCATION

The U.S. Department of Education’s National Center for Education Statistics released The National

Assessment of Educational Progress (NAEP) 1997 Arts Report Card that measured students’ literacy

in the arts. This study, involving approximately 6,660 eighth-grade students in 268 schools nationwide, marked the first time in 20 years that the arts have been part of the development and implementation of the NAEP. The report resulted from critical funding provided in earlier years by the

Arts Endowment to return the arts to the NAEP schedule of subject testing.

An NEA agreement with the Council of Chief State School Officers continued to sponsor the work

of the Arts Education Partnership, a group of more than 140 national organizations representing

the arts education, education and arts communities, as well as government agencies and private

sector interests. Among the Partnership’s successes are the development of a highly acclaimed arts

education advocacy video, The Arts and Children: A Success Story, featuring acclaimed actress

Meryl Streep. The Partnership also distributed critical research reports including Gaining the Arts

Advantage, a first-of-its-kind study on school districts committed to arts education. The report

was issued jointly with the President’s Committee on the Arts and the Humanities.

DANCE

Since 1996, the Endowment has provided funding for the New England Foundation for the Arts’

National Dance Project (NDP), which supports the creation and touring of dance across the country. Touring is uniquely important to the dance field because virtually all dance companies must

find additional performance opportunities beyond their home towns in order to develop their

dancers, repertory and audiences. The NDP involves a group of presenters (those who manage

performing arts series and/or facilities) who are committed to the presentation of contemporary

dance. The group rotates every two to three years. Through Fiscal Year 1999, the NDP fostered the

creation of 76 new dance works and the presentation of those works at 271 different locations in

more than 40 states.

DESIGN

In Fiscal Year 1999, the Design Office undertook two new initiatives and expanded two other programs to nurture design talent and improve the overall quality of design across the country. These

projects are part of an effort to enhance public awareness of design, serve the different design disciplines, and act as a conduit for design expertise for other federal agencies.

Leadership Initiatives

28

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

Other Initiatives
29

New Public Works is a multi-year initiative that features a series of national design competitions

for projects ranging from architecture to graphic, landscape and industrial design. In its first year,

the initiative is funding up to ten projects at $50,000 each to spur good design in often underserved geographic areas and to target emerging design talent.Redressing the Mall, a two-day symposium sponsored by the NEA, examined the redesign of failed malls and their potential impact

on the physical and social fabric of American communities.

The ongoing Mayors’ Institute on City Design, which brings together mayors and design professionals to address community planning issues, featured an extra session in 1999 that identified ways

in which schools can operate as catalysts for community redevelopment. The Institute is conducted in partnership with the

American Architectural Foundation and the U.S. Conference of

Mayors. Your Town, which originally grew out of a joint NEANational Trust for Historic Preservation project for rural communities and offers design workshops on the quality of life in small

towns, added two sessions, one with a focus on Native-American

and the other on African-American communities. These will take

place in the fall of 2000 and address specific developmental concerns faced by those communities.

CHAMBER MUSIC RESIDENCY PROGRAM

Developed by Chamber Music America, this program places emerging

chamber music groups in rural communities for a nine-month residency

(September to May) that may be renewed for up to five years. The residency

not only enhances the musical life of the host community but also provides

the musicians with the opportunity to expand their repertoire and enhance

their performance, teaching and management skills.

TECHNOLOGY

In Fiscal Year 1999, the Arts Endowment announced the addition of a new

resource, Lessons Learned: A Planning Toolsite, to its Web site. Designed

to provide planning assistance to nonprofit arts organizations, this compendium features essays and case studies covering topics such as minority

audience development, capital campaigns and social entrepreneurship. The

Endowment commissioned the case studies from arts administrators and

consultants in order to expand the planning resources available and to

highlight examples of successful programs. Placing these studies on the

NEA Web site gives organizations immediate access to effective strategies

for meeting the challenges of long term planning.

Participants in the 1999 Mayors’ Institute on City Design included mayors from eight U.S. cities and researchers from the

Massachusetts Institute of Technology. Photo by T. Luke Young

The front page from the Web site Lessons Learned:

A Planning Toolsite, on the NEA Web site.
30

The Endowment also added Cultural Funding: Federal Opportunities to its Web site. This

resource, developed with the Tuscon Arts Council, assists nonprofit arts organizations in locating potential federal support for cultural programs in addition to NEA grants. Listings of relevant

federal agencies, project descriptions, links, reference tools and tips are included. Over 100 federal programs and 170 project examples are cited.

Through its Office of Policy Research & Analysis, the Endowment continued to manage Open

Studio: The Arts Online. This collaborative project with the Benton Foundation is the only

national initiative that trains the nonprofit arts community to effectively use the Web for online

communication, publication and creative expression. In 1999, 10 new regional training sites were

added to the original eight sites that, through their work, have dramatically increased the amount

of cultural information available on the Internet.

THEATER

For a second year, through a grant to the Actors’ Fund of America, the Arts Endowment supported

the Artists’ Health Insurance Resource Center (AHIRC), an Internet resource that supplies theater and other artists and arts organizations with comprehensive, state-specific information about

health insurance options. AHIRC provides guidance on selecting a plan; unions, guild and service organizations that offer group coverage; and resource listings regarding specific health conditions.

Two leadership grants to the Theatre Communications Group continued the Endowment’s support for two programs important to the theater field. The NEA/TCG Theatre Residency Program

for Playwrights allows 12 playwrights to create new work while in residence at a host theater,

becoming an integral part of its artistic life. The NEA/TCG Career Development Programs for

Directors and Designers provides emerging directors and designers with support services, residencies at professional theaters, and mentorships with master directors and designers.

Leadership Initiatives 19 9 9 A N N UA L R E P O R T
31

The Office of Policy Research & Analysis (OPRA) supports the Chairman and NEA staff with

statistical and other information about the agency’s applications and awards, including

grantee and applicant profiles, the distribution of awards by state and artistic discipline, and

analyses of overall trends in NEA funding. The Office’s Research Division issues periodic

reports on larger issues affecting artists and arts organizations that are distributed to

Congress, the arts community and the public. These reports help shape changes in the

Endowment’s grantmaking policies.

n Fiscal Year 1999, one of OPRA’s major projects

was the development of a geographic database that

provides a comprehensive picture of the broad reach of

NEA-supported activities. The database demonstrated that

over 4,000 cities and towns throughout the country benefited from NEA grants through dance company tours,

symphony and opera presentations in schools, poetry

readings in libraries, national distribution of works by small literary presses, traveling exhibitions

of works by major visual artists, and radio and television broadcasts.

As part of its activities, OPRA oversees the agency’s Civil Rights Office, which reflects the Chairman’s

commitment to equity within the Endowment and with its grantees, applicants and the cultural

community. Working with OPRA, the Civil Rights Office monitors and influences agency-wide policy and practices.

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

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

• Note #73, an analysis of artist employment based on statistics collected through the U.S.

Bureau of Labor Statistics’ Current Population Survey; and

• Note #74, a summary of the latest research comparing government arts expenditures in the

U. S. with spending levels in nine other countries.

OPRA also convened a symposium with researchers and representatives of arts service organizations and foundations that assessed the development of a national unified database of arts organizations.

The NEA’s library, part of the Research Division, continued to collect and make available to the

arts field and the public specialized information about topics in the arts.

Policy Research&Analysis

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

The NEA’s new geographic

database demonstrated that

in Fiscal Year 1999, 4,000

American communities 

benefited from NEA grants.
Created by Congress in 1984, the National Medal of Arts is conferred annually by the White

House to honor persons and organizations who have made extraordinary contributions to the

excellence, support, growth and availability of the arts in the United States.

he National Endowment for the Arts solicits nominations for the award that are vetted by

the National Council on the Arts and then forwarded to the President for final selection. The

awards, which are non-monetary, are presented each year at a special White House ceremony. This

year’s award recipients are:

National Medal of Arts

32

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

Irene Diamond

New York, NY

Philanthropist

Aretha Franklin

Birmingham, MI

Singer

Michael Graves

Princeton, NJ

Architect, Designer

Odetta

New York, NY

Singer, Music Historian

The Juilliard School

New York, NY

Performing Arts School

Norman Lear

Los Angeles, CA

Producer, Writer, Director,

Advocate

Rosetta LeNoire

Bronx, NY

Actress, Producer

Harvey Lichtenstein

New York, NY

Arts Administrator

Lydia Mendoza

San Antonio, TX

Singer

George Segal

North Brunswick, NJ

Sculptor

Maria Tallchief

Highland Park, IL

Ballerina

President and Mrs. Clinton present the National Medal of Arts to Harvey Lichtenstein.

Photo by Neshan Naltchayan

The National Medal of Arts,

designed by internationally

renowed scuptor Robert Graham.

NEA file photo
33

The Heart of the Beast Puppet Theatre in Minneapolis received a Planning & Stabilization grant for an initiative to increase their earned and

contributed income. Pictured here is the theatre’s retrospective exhibition at the Weisman Art Center. Photo by Warwick Green
34

ore than 400 private citizens reviewed grant proposals and recommended projects for

funding from the thousands of applications received in Fiscal Year 1999. NEA staff select

artists, arts administrators, arts patrons and at least one layperson not employed in the arts to

serve on each panel, ensuring diverse aesthetic, cultural, ethnic and geographic perspectives.

Panels convene at the Endowment offices throughout the year, in meetings lasting several days.

To avoid conflicts of interest, panelists do not consider applications from organizations with which

they are affiliated. Split panels (panel A and panel B) are sometimes convened so that such conflicts do not occur.

Panel recommendations for funding are forwarded to the National Council on the Arts for further review. Applications approved by the Council are then forwarded to the Chairman, who has

final authority on all funding decisions.

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

Panelists

M

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

The Panel Process

Arts Education

Education & Access

Planning & Stabilization

Joan Powers Assey

Director, Development and

Technology

Richland School District Two

Columbia, SC

Jane Bonbright

Executive Director

National Dance Education

Association

Kensington, MD

Sherilyn Brown

Director, Arts in Education Program

Rhode Island Council on the Arts

Cranston, RI

Kassie Davis

Executive Director

Illinois Arts Council

Chicago, IL

Debra Eileen Evans

Education Director

The Washington Opera

Washington, DC

Kimberley S. Kanatani

Education Director

Museum of Contemporary Art

Los Angeles, CA

Janice L. Leonetti

English Instructor

Wilsonville High School

Oregon City, OR

Myran Parker-Brass

Director of Education and

Community Programs

Boston Symphony Orchestra

Ashland, MA

Bruce E. Rodgers

Associate Artistic Director

Asolo Regional Theater

Sarasota, FL

C. Lawler Rogers 

(Layperson)

Fine Arts Supervisor (retired)

Brandywine School District

Newark, DE

Beth Rudolph

Executive Director

Very Special Arts New Mexico

Albuquerque, NM

Tim Wright

Founder and Director, Jamaica Plain

Newsreel

Artist-in-Residence, Essex Middle

School

Boston, MA

Dance

Creation & Presentation

Celesta Billeci

Programming Coordinator and

Marketing Director

UCLA Center for the Performing Arts

Los Angeles, CA
35

Hernando Cortez

Artistic Director

Cortez & Co. Contemporary Ballet

New York, NY

Della Davidson

Artistic Director

Della Davidson Dance Company

San Francisco, CA

Riley Grannan

Managing Director

Eugene Ballet Company

Eugene, OR

Joan Gray

President

Muntu Dance Theatre

Chicago, IL

Robert Greskovic

Writer, Dance Critic

New York, NY

Germaine Ingram 

(Layperson)

Chief of Staff

School District of Philadelphia

Philadelphia, PA

Marda Kirn

Founder

Colorado Dance Festival

Lafayette, CO

Marsha Knight

Professor of Dance

University of Wyoming

Laramie, WY

Bryan Pitts

Artistic Director

Ballet Oklahoma

Oklahoma City, OK

Bennett Tarleton 

Executive Director

Tennessee Arts Commission

Nashville, TN

Ann Williams

Artistic Director and Founder

Dallas Black Dance Theatre

Dallas, TX

Education & Access

Heritage & Preservation

Elizabeth Aldrich

Choreographer, Writer, Historian

Washington, DC

Norman Brown 

(Layperson)

Teacher

McCullough Elementary School

Newark, DE

Bonnie Oda Homsey

Co-Director, Administrator

American Repertory Dance

Company

Los Angeles, CA

Johann Jacobs

Executive Director

Ballet West

Salt Lake City, UT

Roy Kaiser

Artistic Director

Pennsylvania Ballet

Philadelphia, PA

Karen K. Masaki

Program Officer for Culture and Arts

Hawai’i Community Foundation

Honolulu, HI

Hema Rajagopalan

Artistic Director

Natyakalalayam Dance Company

Oakbrook, IL

Abdel Salaam

Artistic Director

Forces of Nature

New York, NY

Planning & Stabilization

Michael Bjerknes 

(Layperson)

Senior Business Analyst

General Electric Information

Services

Rockville, MD

C.C. Conner

Executive Director 

Houston Ballet

Houston, TX

Gail Kalver 

General Manager

Hubbard Street Dance Chicago

Chicago, IL

Gray Montague

Executive Director

Ballet Arizona

Phoenix, AZ

Lolita San Miguel

Artistic Director

Ballet Concierto

San Juan, PR

Gene C. Sulzberger

Director of Development and

Communications

Dade Community Foundation

Miami, FL

June Wilson

Executive Director

Minnesota Dance Alliance

Minneapolis, MN

Design/Museums

Creation & Presentation

Fernando Alvarez-Perez, M.D.

(Layperson)

Obstetrician-Gynecologist

Miami, FL

Charles Thomas Butler

Director

Columbus Museum

Columbus, GA

Tina Dunkley

Director, University Art Collections

Clark Atlanta University

Atlanta, GA

Robert Johnson

Curator-in-Charge, Achenbach

Foundation for Graphic Arts

Fine Arts Museum of San Francisco

San Francisco, CA
Panelists

36

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

Kathryn Kanjo

Curator of Contemporary Art

Portland Art Museum 

Portland, OR

María McCabe 

(Layperson)

President

Media Access Consulting

Wilmington, DE

Mark Robbins

Curator of Architecture

Wexner Center for the Arts

Columbus, OH

Linda Shearer 

Director, Museum of Art

Williams College 

Williamstown, MA

Anne Wilkes Tucker

Gus & Lyndall Wortham Curator of

Photography 

Museum of Fine Arts

Houston, TX

Olga Viso

Curator of Contemporary Art

Hirshhorn Museum and Sculpture

Garden

Smithsonian Institution

Washington, DC

Susan Vogel

Independent Curator

New York, NY

Ian Wardropper

Eloise W. Martin Curator of

European Decorative Arts and

Sculpture

Art Institute of Chicago

Chicago, IL

Heritage & Preservation

Bill Babcock 

Executive Director

Town Hall Arts Center

Littleton, CO

Sandra Barghini

Chief Curator

Flagler Museum

Palm Beach, FL

Bruce Christman

Chief Conservator

Cleveland Museum of Art

Cleveland, OH

Steve Dietz

Director of New Media Initiatives

Walker Art Center

Minneapolis, MN

Graham Gund

President

Graham Gund Architects

Cambridge, MA

Peter Morrin

Director

J.B. Speed Art Museum

Louisville, KY

Wynne H. Phelan

Director, Conservation Department

Museum of Fine Arts

Houston, TX

Pamela Shields 

(Layperson)

Project Coordinator

The San Francisco Foundation

San Francisco, CA

Mina Takahashi

Executive Director

Dieu Donné Papermill

New York, NY

Design/Museums/

Visual Arts

Education & Access

Richard Andrews

Director, Henry Art Gallery

University of Washington

Seattle, WA

Umberto Crenca

Director

AS220

Providence, RI

Blane de St. Croix

Artist, Area Head, Sculpture

Department

Schmidt College of Art and

Humanities

Florida Atlantic University

Boca Raton, FL

Rebecca Des Marais

Director, Youth Art Connection

Boys & Girls Club of Metro Atlanta

Atlanta, GA

Jhon Goes in Center 

(Layperson)

President and Founder

Innovative GIS Solutions, Inc.

Fort Collins, CO

Sonnet Takahisa 

Co-Director

New York City Museum School

New York, NY

Irene Dumas Tyson

Design Consultant

Columbia, SC

Marshall Wong

Project Director, Arts Education

Initiative

Los Angeles County Museum of Art

Los Angeles, CA

Planning & Stabilization

Candra Day 

Planning and Management

Consultant

Jackson Hole, WY

William Drenttel

Design Consultant

Jessica Helfand l William Drenttel,

Inc.

Falls Village, CT

Anne Farrell

Development Director

Museum of Contemporary Art,

San Diego

La Jolla, CA

Thomas Hickok

Management Consultant

Booz • Allen & Hamilton, Inc.

Alexandria, VA
37

Nancy Lutz

Assistant Director, Center for

Creative Photography

University of Arizona

Tucson, AZ

R. Andrew Maass

Director

Mississippi Museum of Art

Jackson, MS

Carlos Tortolero

Founder and Director

Mexican Fine Arts Center Museum

Chicago, IL

Will K. Wilkins

Executive Director

Real Art Ways

Hartford, CT

Brigette Williams 

(Layperson)

Publisher, Special Publications

Division

Arkansas Business Publishing Group

Little Rock, AR

Folk & 

Traditional Arts

Creation & Presentation

Andrea Graham

Folk Arts Program Director

Nevada Arts Council

Carson City, NV

Geraldine Johnson 

(Layperson)

President

American Traditional Foods

Washington, DC

Phong Nguyen

Visiting Assistant Professor 

Center for the Study of World

Musics, Kent State University

Kent, OH

Jacqueline Peters

Program Specialist

100 Black Men of Greater

Charlotte, Inc.

Charlotte, NC

David Roche

Director

Local Cultures

Point Richmond, CA

Lorenzo Trujillo

Director of Educational Services

Adams County School District 14

Commerce City, CO

Joseph Wilson

Executive Director

National Council for the

Traditional Arts

Silver Spring, MD

Education & Access:

Panel A

Heritage &

Preservation: Panel A

Tina Bucuvalas

Folklorist

Bureau of Historic Preservation,

Department of State

Tallahassee, FL

Elizabeth Dear

Curator

Charles M. Russell Museum

Great Falls, MT

Jill Linzee

Folklorist, Ethnomusicologist

Northwood, NH

Richard March

Traditional and Ethnic Arts

Coordinator

Wisconsin Arts Board

Madison, WI

Reaves Nahwooksy

Director

Institute of American Indian Arts

Museum

Santa Fe, NM

J. Sanford Rikoon

(Layperson)

Associate Professor of Rural

Sociology

University of Missouri

Columbia, MO

Catherine Schwoeffermann

Curator and Program Director

Roberson Museum and Science

Center

Binghamton, NY

Gary Stanton

Assistant Professor of Historic

Preservation

Mary Washington College

Fredericksburg, VA

Hector Vega

Ethnomusicologist (retired)

San Juan, PR

Lesley Williams

Folk Arts Coordinator

South Carolina Arts Commission

Columbia, SC

Debora Wong

Assistant Professor of

Ethnomusicology, Musicology

University of California, Riverside

Riverside, CA

Education & Access:

Panel B

Heritage &

Preservation: Panel B

Norma Elia Cantu

Professor of English

Texas A & M International

University

Laredo, TX

Carol Edison

State Folk Arts Coordinator

Utah Arts Council

Salt Lake City, UT

Joyce Jackson

Associate Professor of

Anthropology

Louisiana State University

Baton Rouge, LA

Richard March

Traditional and Ethnic Arts

Coordinator

Wisconsin Arts Board

Madison, WI
Panelists

38

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

Helen Hubbard Marr

Folk Arts Consultant

Cos Cob, CT

Phong Nguyen

Visiting Assistant Professor

Center for the Study of World

Musics, Kent State University

Kent, OH

J. Sanford Rikoon

(Layperson)

Associate Professor of Rural

Sociology

University of Missouri

Columbia, MO

Catherine Schwoeffermann

Curator and Program Director

Roberson Museum and Science

Center

Binghamton, NY

Willie Smyth

Folk Arts Coordinator

Washington State Arts Commission

Olympia, WA

David Taylor

Folklife Specialist

Library of Congress

Washington, DC

E. Henry Willett, III

Director

Alabama Center for the 

Traditional Arts

Montgomery, AL

Literature

Creation & Presentation

Planning & Stabilization

Paul Coates

Publisher

Black Classic Press

Baltimore, MD

Lorin Cuoco

Poet, Associate Director

International Writers Center

St. Louis, MO

C. Michael Curtis

Writer, Senior Editor

The Atlantic Monthly

Littleton, MA

Saskia Hamilton

Poet, Director of Literary Programs

Lannan Foundation

Santa Fe, NM

Cheryl Hurley

President

Library of America

New York, NY

Elise Paschen

Poet, Executive Director

Poetry Society of America

Chicago, IL

Winter Prosapio 

(Layperson)

Media Relations Consultant

Canyon Lake, TX

Paul Shaffer

Writer, Executive Director

Log Cabin Literary Center

Boise, ID

Jeanie Thompson

Poet, Executive Director

Alabama Writers’ Forum

Montgomery, AL

Education & Access

Heritage & Preservation

Jack Agueros

Writer, Translator, Arts

Administrator

New York, NY

Teresa Bonner 

(Layperson)

Former Attorney, Director of

Community Affairs

Piper Jaffray, Inc.

Eden Prairie, MN

David Fenza

Poet, Executive Director

Associated Writing Programs

Fairfax, VA

Linda Jaech

President

Richard Hugo House

Seattle, WA

Guy Lebeda

Essayist, Literature Coordinator

Utah Arts Council

Salt Lake City, UT

Mary Gay Shipley

Founder and Owner

That Bookstore in Blytheville

Blytheville, AR

Luci Tapahonso

Poet, Children’s Author, Associate

Professor of English

University of Kansas

Lawrence, KS

Luis Alberto Urrea

Poet, Essayist, Writer-in-Residence

University of Southwestern

Louisiana

Lafayette, LA

C.D. Wright

Poet, Co-Director

Lost Roads Publishers

Barrington, RI

Local Arts Agencies

Education & Access

Heritage & Preservation

Planning & Stabilization

Lee Betton

Owner and Principal Manager

Betton Concert Artists

Aurora, CO

Ludy Biddle

Director

The Terezin Project

Shrewsbury, VT

Norree Boyd

Vice President and Chief

Operating Officer

Palm Beach County Cultural

Council

West Palm Beach, FL
39

Julia M. Brown

Project Manager

South Carolina Department of

Parks, Recreation and Tourism

Columbia, SC

Romelia Escamilla

Consultant, Community Volunteer

Centro Alameda, Inc.

San Antonio, TX

June Freeman 

(Layperson)

Trustee

Arkansas Arts Center and

Decorative Arts Museum

Little Rock, AR

Jeff Prauer

Executive Director

COMPAS (Community Programs in

the Arts)

St. Paul, MN

Eric Rogers 

Executive Director

Jay County Arts Council

Portland, IN

Local Arts Agencies/

Presenting/

Multidisciplinary

Creation & Presentation

Stephanie Ancona

Manager, Creation and

Presentation Fund

New England Foundation for the Arts

Boston, MA

Phyllis Brzozowska

Consultant, Founder,

Former Executive Director

CITYFOLK

Dayton, OH

Tina Chancey

Musician, Founding Member,

Producing Director

Hesperus Chamber Ensemble

Arlington, VA

Michael P. Garcia

Senior Consultant

Amherst H. Wilder Foundation

Community Services Group

St. Paul, MN

Kathy Hotchner

Director of Performing Arts

Programming and Operations

Scottsdale Cultural Council

Scottsdale, AZ

Richard Jay Hutto 

(Layperson)

Attorney, Fundraising Consultant

Macon, GA

Terrence Jones 

President and Chief Executive Officer

Wolf Trap Foundation for the

Performing Arts

Vienna, VA

Kenneth C. Raphael

Actor, Performing Arts Producer,

Educator

New Orleans, LA

Cedric D. Reverand II

Director of Cultural Programs,

Professor of English

University of Wyoming

Laramie, WY

Gregory S. Shanck

Theater Manager

Hostos Center for the Arts and

Culture

Brooklyn, NY

Vanessa Whang

Arts Education Program Director

East Bay Community Foundation

Berkeley, CA

Media Arts

Creation & Presentation: 

Panel A

Planning & Stabilization

Harriet Baskas

Independent Radio Producer

General Manager, KBCS-FM

Seattle, WA

Joyce Campbell

Executive Producer, News and

Public Affairs

KCET-TV

Los Angeles, CA

Albert Casciero

(Layperson)

Associate Vice President, Learning

Resources

University of the District of Columbia

Washington, DC

Cynthia Fenneman

Independent Television Producer

Kittery, ME

Rob Gordon

General Manager

WPLN-FM

Nashville, TN

ReGina Hays

Marketing and Communications

Manager

Chicago Park District

Chicago, IL

Laura Waterman Wittstock

President

MIGIZI Communications

Minneapolis, MN

Creation & Presentation:

Panel B

Juanita Anderson

Independent Film and Television

Director, Producer

Legacy Productions, Inc.

Roxbury, MA

William J. Horrigan

Media Arts Curator

Director, Art and Technology Video

Production Facility

Wexner Center for the Arts

Columbus, OH

Susan Leonard

Director

South Carolina Arts Commission

Media Arts Center

Columbia, SC
Panelists

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

Suzanne Mauze

Film Sales Associate

South By Southwest Film Festival

and Conference

Austin, TX

John Pierson

Executive Producer, Split Screen

Producer’s Representative, Grainy

Pictures

Cold Spring, NY

H. Randall Williams

(Layperson) 

President

Black Belt Communications, Inc.

Montgomery, AL

Eddie Wong

Executive Director

National Asian American

Telecommunications Association

San Francisco, CA

Education & Access:

Panel A

Heritage & Preservation

Susan Braine

Manager

KUYI-FM

Hotevilla, AZ

John Garrou

(Layperson) 

Managing Partner

Womble, Carlyle, Sandridge & Rice

Winston-Salem, NC

Ron Hull

Public Broadcasting Executive

Lincoln, NE

Rebecca Lawrence

Executive Director

New Hampshire State Council on

the Arts

Concord, NH

Joan Rabinowitz

Radio Producer, Ethnomusicologist

Seattle, WA

Suzanne Weil

Independent Producer

Santa Monica, CA

Education & Access:

Panel B

Randy Akers

(Layperson)

Executive Director

South Carolina Humanities Council

Columbia, SC

Patti Bruck

Independent Filmmaker

Instructor, Film Studies Department,

University of Colorado

Boulder, CO

Mable Haddock

Executive Director

National Black Programming

Consortium

Columbus, OH

Elisabeth Perez Luna

Independent Radio Producer,

Journalist

Earmark 

West Chester, PA

Pam Roberts

Independent Producer, Director

Bozeman, MT

Richard Teller

Deputy Director of Development

Museum of Television and Radio

New York, NY

Multidisciplinary

Creation & Presentation

Ping Chong

Artistic Director

Fiji Theater Company

New York, NY

Susan Dowling

Independent Media Consultant

Cambridge, MA

Kristy Edmunds

Executive Director and Curator

Portland Institute for Contemporary

Art

Portland, OR

Amy Lamphere

Executive Director

Wagon Train Project

Lincoln, NE

Sylvia Orozco

Artist 

Executive Director, Mexic-Arte

Austin, TX

Gail Robinson Oturu

Assistant Professor of Music

Bethune-Cookman College

Daytona Beach, FL

David Rodriguez

Executive Director

John Harms Theater

Englewood, NJ

Marah Rosenberg

Senior Technical Associate

Lucent Technologies

Homldel, NJ

Mike Wilkerson

(Layperson)

University Administrator

Indiana University

Bloomington, IN

Patrick Zentz

Artist

Laurel, MT

Education & Access: 

Panel A and B

Heritage & Preservation

The Rev. Antoine Campbell

(Layperson)

St. James Episcopal Church

Houston, TX

Alonzo Davis

Dean of Academic Affairs

Memphis College of Arts

Memphis, TN

Imani Drayton-Hill

Arts Consultant

Takoma Park, MD
41

Gene Dugan

Artistic Director

Out North Contemporary Art

House

Anchorage, AK

Juanita Espinosa 

Executive Director

Native Arts Circle

Minneapolis, MN

(Served on Education & Access:

Panel A only)

Sandra Furey-Gaither

Program Director

International House of Blues

Foundation

Cambridge, MA

Michael Mao

Artistic Director

Michael Mao Dance

New York, NY

Gerard Martinez

Director

Office of Intercultural Affairs

Santa Fe, NM

Berti Rodriguez Vaughan

Program Director

San Antonio Parks and Recreation

Department

San Antonio, TX

Timothy Sauers

Director of Programs

Urban Gateways

Chicago, IL

Corby Skinner 

Director, The Writer’s Voice

Project

Billings Family YMCA

Billings, MT

Planning & Stabilization

Sonja Carlborg

Executive Director

Ragdale Foundation

Lake Forest, IL

Scinthya Edwards

Executive Director

YaYa, Inc.

New Orleans, LA

Moy Eng

Program Officer

Joyce Mertz-Gilmore Foundation

New York, NY

Timothy Hedgepeth

Program Administrator

Mississippi Arts Commission

Jackson, MS

Anthony Keller

Executive Director

Charter Oak Cultural Center

Hartford, CT

Kim Konikow

Director

artservices & company

Minneapolis, MN

Stephanie Riven

Executive Director

Center of Contemporary Art

St. Louis, MO

Catherine Rudinsky

(Layperson)

President, Ceramica

Portland, OR

Albert Soto

Director of Grants Programs

Tuscon-Pima Arts Council

Tuscson, AZ

Museums

For the Creation & Presentation

panel, please refer to the

DESIGN/MUSEUMS section. For

Education & Access and Planning &

Stabilization panels, please refer to

the DESIGN/MUSEUMS/VISUAL

ARTS section.

Music

Creation & Presentation:

Panel A

Ronald Crutcher

Director, School of Music

University of Texas at Austin

Cellist, The Klemperer Trio

Austin, TX

Jacqueline Davis

Executive Director, Lied Center of

Kansas

University of Kansas

Lawrence, KS

Mary Hall Deissler

Executive Director

Handel & Haydn Society

Boston, MA

Catherine French

Arts Consultant 

Former President, American

Symphony Orchestra League

Washington, DC

Raymond Harvey

Music Director and Conductor

Fresno Philharmonic

Fresno, CA

John La Barbera

Jazz Musician, Composer, Arranger

Assistant Professor of Music

University of Louisville

Louisville, KY

Peter Marshall

Organist, Harpsichordist, Early

Music Scholar

Atlanta, GA

Alberto Rafols

Director, Grants and Community

Programs

Regional Arts and Culture Council

Portland, OR

Tim Savinar

(Layperson)

Attorney, Arts Patron

San Francisco, CA
Panelists

42

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

Chen Yi

Professor, Conservatory of Music

University of Missouri

Kansas City, MO

Edward Yim

Artistic Administrator

The Cleveland Orchestra

Cleveland Heights, OH

Creation & Presentation: 

Panel B

Paulette Arkle Black

Arts Education Director

Oklahoma Arts Council

Oklahoma City, OK

Susan Franano

Interim Executive Director

Ohio Citizens for the Arts

New Albany, OH

Douglas Gerhart

Executive Director

Alabama Symphony

Birmingham, AL

Richard P. Martin

Director, McCain Auditorium

Kansas State University

Manhattan, KS

Robert Page

Music Director and Conductor

Mendelssohn Choir of Pittsburgh

Pittsburgh, PA

Robert X. Rodriguez

Composer-in-Residence, San

Antonio Symphony

Professor, Arts and Humanities,

University of Texas at Dallas

Richardson, TX

Peter Smith

Executive Director

Grand Rapids Symphony

Grand Rapids, MI

Joan H. Squires

President and Chief Executive

Officer

Phoenix Symphony Orchestra

Phoenix, AZ

Dallas Tidwell

Clarinetist, Kentucky Center

Chamber Players

Faculty, Department of Music,

University of Louisville

Louisville, KY

Lorenza N. Whitney

(Layperson)

Arts Patron, Elementary School

Principal (retired)

Sarasota, FL

Education & Access: 

Panel A and B

Heritage & Preservation

Carole BirkheadB

Arts Patron

Louisville, KY

Bruce CarrA

Writer, Lecturer, Consultant

Iowa Department of Cultural

Affairs

Des Moines, IA

Bruce CoppockB

Vice President and Director,

The Orchestra Academy

American Symphony Orchestra

League

Chevy Chase, MD

Janet CowperthwaiteB

Managing Director

Kronos Quartet

San Francisco, CA

Robert FreemanA

President

New England Conservatory of

Music

Boston, MA

Alexine Clement JacksonB

(Layperson)

Arts Patron, Board Member

Washington Performing Arts

Society

Potomac, MD

Steven Ovitsky A

Executive Director

Milwaukee Symphony

Whitefish Bay, WI

Hector PonceB

Administrator, San Antonio

Independent School District

Percussionist

San Antonio, TX

Bernice Price A

Assistant Professor of Humanities

Alabama State University

Montgomery, AL

Georgia Ryder A

Dean Emerita, School of Arts &

Letters

Norfolk State University

Norfolk, VA

George Sams A

Jazz Instrumentalist

District Band Director, Lovejoy

School District

St. Louis, MO

William Vickery A

Executive Director

Arkansas Symphony Orchestra

Little Rock, AR

Daniel WindhamB

Executive Director

Kansas City Young Audiences, Inc.

Kansas City, MO

William Zukof B

Co-Artistic Director and Executive

Director

The Western Wind Ensemble

New York, NY

A Served on Education & Access:

Panel A

B Served on Education & Access:

Panel B
43

Music/Opera

Planning & Stabilization

Mimi Denton Bravar

Board Member

New Hampshire State Council on

the Arts

Bedford, NH

Jane E. Hunter

Executive Director

Portland Symphony Orchestra

Portland, ME

James D. Ireland

General Manager, Houston Grand

Opera

Program Supervisor, Houston

Opera Studio

Manager, Wortham Center

Operating Company

Houston, TX

Philip M. Lanier

(Layperson)

Arts Patron, Attorney (retired)

Louisville, KY

E. Howard Nelson

Senior Grants Officer (retired)

Michigan Council for Arts and

Cultural Affairs

Hilton Head, SC

Carol Penterman

Executive Director and Chief

Executive Officer

Nashville Opera Association

Mezzo Soprano

Nashville, TN

Maria Dolores Sasso Taylor

President, Sasso International

Corporation

Loan Officer, Eagle Funding Group,

Ltd.

Annapolis, MD

Larry Tamburri

Executive Director

New Jersey Symphony Orchestra

Maplewood, NJ

Willie Anthony Waters

Conductor and Music Director,

Connecticut Opera

Artistic Director and Principal

Conductor, Florida Grand 

Opera

Miami, FL

Catherine Wichterman

(Layperson)

Program Officer for the 

Performing Arts

Andrew W. Mellon Foundation

New York, NY

(Served only for the Music 

applications)

Musical

Theater/Theater

Creation & Presentation:

Panel A

Jim Clark

Producing Director, Syracuse Stage

Director, Department of Drama,

Syracuse University

Syracuse, NY

John Dillon

Director

Seattle, WA

Diane Durgin

(Layperson)

Attorney, Arbitrator

Atlanta, GA

Linda Earle

Director, Theatre Program

New York State Council on the Arts

New York, NY

Tony Garcia

Artistic Director

Su Teatro

Denver, CO

Ron Himes

Founder and Producing Director

St. Louis Black Repertory Company

St. Louis, MO

Ben Levit

Artistic Director

American Music Theater Festival

Philadelphia, PA

Susan Medak

Managing Director

Berkeley Repertory Theatre

Berkeley, CA

John Ostrout

Executive Director

Connecticut Commission on the

Arts

Hartford, CT

Guillermo Reyes

Playwright

Faculty, Department of Theatre

Arizona State University

Tempe, AZ

Mary Hall Surface

Playwright, Director

Washington, DC

Paul Tetreault

Managing Director

Alley Theater

Houston, TX

Creation & Presentation:

Panel B

Douglas Aibel

Artistic Director

Vineyard Theatre

New York, NY

Robert Alpaugh

Executive Director

Joffrey Ballet of Chicago

Chicago, IL

Chris Coleman

Artistic Director

Actors Express

Atlanta, GA

Walter Dallas

Artistic Director

Freedom Theatre

Philadelphia, PA
Panelists

44

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

David Hawkinson

Managing Director

The Guthrie Theater

Minneapolis, MN

Rafael Lopez-Barrantes

Co-Artistic Director

Archipelago Theatre

Chapel Hill, NC

Charles Newell

Artistic Director

Court Theatre

Chapel Hill, NC

Paul Nicholson

Executive Director

Oregon Shakespeare Festival

Ashland, OR

Barbara L. Pearce

(Layperson)

Realtor, Board Member

Guilford, CT

Jorge Pina

Theatre Program Director

Guadalupe Cultural Arts Center

San Antonio, TX

Elmo Terry-Morgan

Artistic Director

Rites and Reason Theatre

Providence, RI

Paula Tomei

Managing Director

South Coast Repertory

Costa Mesa, CA

Education & Access: 

Panel A and B

Heritage & Preservation

William W. Cook

Professor and Chair, Department of

English

Dartmouth College

Hanover, NH

Richard H. Hahn

(Layperson)

Attorney

Consultant to Nonprofit

Organizations

Cleveland Heights, OH

Linda Hartzell

Artistic Director

Seattle Children’s Theatre

Seattle, WA

John A. Haynes A

Executive Director

Children’s Theatre Company

Minneapolis, MN

Thomas W. Jones II

Co-Artistic Director

Jomandi Productions

Atlanta, GA

Wesley V. Montgomery

Director of Education

New 42nd Street, Inc.

New York, NY

Carol North

Producing Director

Metro Theater Company

St. Louis, MO

Bill Rauch

Artistic Director

Cornerstone Theater Company

Los Angeles, CA

Daniel Renner

Director of Education

Denver Center Theater Company

Denver, CO

Ernest Rubio

Grants Administrator, Office of

Cultural Affairs

City of San Antonio

San Antonio, TX

Susan Tsu

Costume Designer

Austin, TX

Diane WondisfordA

General Director

Music-Theatre Group

New York, NY

A Served on Education & 

Access: Panel A only

Planning &

Stabilization: 

Panel A and B

Cliff Fannin Baker

Producing Artistic Director

Arkansas Repertory Theatre

Little Rock, AR

Clinton Turner Davis

Associate Professor of Drama and

Dance

Colorado College

Colorado Springs, CO

Michael Maso 

Managing Director

Huntington Theater Company

Boston, MA

(Served on Panel A only)

Greg Rowe

Program Officer for Culture

The Pew Charitable Trusts

Philadelphia, PA

Jane W. Schlegal

(Layperson)

Fundraising and Program

Development Consultant

New Directions, Inc.

Indianapolis, IN

Pam Sterling

Artistic Director

Idaho Theater for Youth

Boise, ID

Jeff Woodward

Managing Director

McCarter Theatre

Princeton, NJ
45

Opera

Creation & Presentation

Ann Delchamps

(Layperson)

Volunteer

Alabama State Council on the Arts

Mobile, AL

David DiChiera

Founding General Director,

Michigan Opera Theatre

Artistic Director, Opera Pacific 

Detroit, MI

John Duffy

Composer

Belfast, ME

Robert Heuer

General Manager and Chief

Executive Officer

Florida Grand Opera

Miami, FL

Patricia Mossel

Executive Director

The Washington Opera

Washington, DC

Shoko Kato Sevart

(Layperson)

Arts Patron, Attorney

Sevart & Sevart

Wichita, KS

Education & Access

Ernesto Alorda

Director of Community and Artist

Relations 

Seattle Opera Association

Seattle, WA

Carmen Balthrop

Soprano, Educator

Mitchellville, MD

Joan Lounsbery

Managing Director

Starlight Opera Theatre

Milwaukee, WI

Charles MacKay

General Director

Opera Theatre of Saint Louis

St. Louis, MO

Christopher Paddack

(Layperson)

Creative Arts Program Officer

(retired)

United States Information Agency

Washington, DC

Randall Rosenbaum

Executive Director

Rhode Island State Council on the

Arts

Providence, RI

Presenting

Education & Access

Planning & Stabilization

Duane Ebata

Managing Director

Japanese-American Cultural

Center

Los Angeles, CA

Avner Eisenberg

Theater Artist

Peaks Island, ME

Homer E. Finger

Director, Williams Center for the Arts

Lafayette College

Easton, PA

Mollie Lakin-Hayes

Programs Administrator

Arizona Commission on the Arts

Phoenix, AZ

Herman Milligan

(Layperson)

Vice President

Norwest Corporation

Minneapolis, MN

Ira Perman

Executive Director

Anchorage Concert Association

Anchorage, AK

Michael Ross

Executive Director

Krannert Center for the Performing

Arts

University of Illinois

Urbana, IL

Arlene Shuler

Senior Vice President, Planning and

External Affairs

Lincoln Center for the Performing Arts

New York, NY

Andrea Wagner

Executive Director

Seattle International Children’s

Festival

Seattle, WA

M.K. Wegmann

President

M.K. Arts Company

New Orleans, LA

Visual Arts/Design

Creation & Presentation

Janeen Antoine

Executive Director

American Indian Contemporary Arts

San Francisco, CA

Nina Brock

Arts Patron

Lookout Mountain, TN

Kevin Duggan

Senior Program Officer for

Services and Technology

New York Foundation for the Arts

New York, NY

Richard Fleischner

Sculptor

Providence, RI

William F. Griffith, M.D.

(Layperson)

Obstetrician-Gynecologist

Denver, CO
Panelists

46

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

Marjorie Levy

Executive Director

Pilchuck Glass School

Seattle, WA

Grover Mouton

Professor, Department of

Architecture

Tulane University

New Orleans, LA

Saralyn Reece Hardy

Director

Salina Art Center

Salina, KS

MaLin Wilson

Art Critic, Writer

Santa Fe, NM

Hamza Walker

Director of Education,

The Renaissance Society

University of Chicago

Chicago, IL

American Jazz Masters

Fellowships

Stephanie Ancona

Fund Manager, Creation and

Presentation

New England Foundation for the Arts

Boston, MA

Suzan E. Jenkins

Executive Director, America’s Jazz

Heritage

Smithsonian Institution

Washington, DC

Amy McCombs

(Layperson)

President and Chief Executive

Officer, Chronicle Broadcasting

Company

President and General Manager,

KRON-TV

San Francisco, CA

Billy Taylor

Pianist, Composer 

Correspondent, CBS’s Sunday

Morning

New York, NY

Frederick Tillis

Composer, Saxophonist, Director

Emeritus

Fine Arts Center

Amherst, MA

Literature Fellowships

(Poetry and Translation)

Albert Goldbarth P

Poet, Professor of English

Witchita State University

Wichita, KS

Rachel Hadas

Poet, Professor

Rutgers University

New Brunswick, NJ

Linda Hogan P

Poet, Associate Professor of English

University of Colorado

Idledale, CO

Heather McHugh

Poet, Professor of Creative Writing

University of Washington

Seattle, WA

Pat Mora

Poet

Edgewood, KY

Alexander Ooms

(Layperson)

Management Consultant

Price Waterhouse

Los Angeles, CA

Reginald Shepherd

Poet, Assistant Professor

Northern Illinois University

Chicago, IL

James TateP

Poet, Professor

University of Massachusetts

Amherst, MA

Carolyne Wright

Poet, Visiting Writer

Emory University

Decatur, GA

PServed for Poetry Fellowships

only.

National Heritage

Fellowships

Marisol Berrios-Miranda

Ethnomusicologist

Seattle, WA

Janet Gilmore

Folklorist

Mt. Horeb, WI

Charlotte Heth

Assistant Director for Public

Programs

National Museum of the American

Indian

Smithsonian Institution

Washington, DC

Patricia Jasper

Executive Director

Texas Folklife Resources

Austin, TX

Suzi Jones

Deputy Director

Anchorage Museum of History and

Art

Anchorage, AK

Jill Linzee

Folklorist, Ethnomusicologist

Northwood, NH

Worth Long

Folklorist

Atlanta, GA

Gordon McCann

(Layperson)

Businessman

Springfield, MO
47

Lorraine Sakata

Associate Dean for Academic Affairs

University of California at Los

Angeles

Los Angeles, CA

Barre Toelken

Director, Folklore Program

Utah State University

Logan, UT

Joseph T. Wilson

Executive Director

National Council for the

Traditional Arts

Silver Spring, MD

Steven J. Zeitlin

Director and Co-Founder

City Lore, Inc.

New York, NY

Regional Partnership

Agreements

Panel A

Jeffrey Dunn

(Layperson)

Chairman

Southern Arts Federation

Jacksonville, FL

Colleen Jennings-Roggensack

Director of Public Events

Arizona State University

Tempe, AZ

Susie Surkamer

Executive Director

South Carolina Arts Commission

Columbia, SC

Timothy Wilson

Executive Director

Western Arts Alliance

San Francisco, CA

Panel B

Christopher Abele

(Layperson)

Attorney

Badger and Levings

Atlanta, GA

Rick George

Director of Grant Programs

Georgia Council for the Arts

Atlanta, GA

Ricardo Hernandez

Director of Programs

Texas Commission on the Arts

Austin, TX

Thomas Schorgl

Executive Director

Community Partnership for Arts and

Culture

Cleveland, OH

State Partnership

Agreements

Panel A

Betsy Bradley

Executive Director

Mississippi Arts Commission

Jackson, MS

Shelley Cohn

Executive Director

Arizona Commission on the Arts

Phoenix, AZ

Jim Hill

(Layperson)

Hill Management Company

Signal Mountain, TN

Dennis Holub

Executive Director

South Dakota Arts Council

Pierre, SD

Mary Kelley

Executive Director

Massachusetts Cultural Council

Boston, MA

Abel Lopez

Associate Producing Director

GALA Hispanic Theater

Washington, DC

Panel B

James Borders, IV

Executive Director

Louisiana Division of the Arts

Baton Rouge, LA

Libby Chiu

Executive Director

Urban Gateways

Chicago, IL

Rebecca Lawrence

Executive Director

New Hampshire State Council on

the Arts

Concord, NH

Wayne Lawson

Executive Director

Ohio Arts Council

Columbus, OH

David A. Miller

Deputy Executive Director

New Jersey State Council on the Arts

Hightstown, NJ

David Nelson

Former Executive Director

Montana Arts Council

Lolo, MT

Judith Rapanos

Chair

Michigan Council for Arts and

Cultural Affairs

Midland, MI

National Millennium

Projects

Arts on Millennium Trails

Greg Esser

Public Art Program Manager

Phoenix Arts Commission

Phoenix, AZ

Marianne Wesley Fowler

Senior Vice President for Programs

Rails-to-Trails Conservancy

Alexandria, VA
Panelists

48

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

Mags Harries

Visual Artist, Educator

President, Harries Heder

Collaborative

Cambridge, MA

Jens Lund

Folklorist, Filmmaker, Consultant

Olympia, WA

Neville Murray 

Underserved Arts Specialist

Nebraska Arts Council

Omaha, NE

Freeman Owle

Storyteller, Carver

Advisor, Cherokee Heritage Trails

Project

Cherokee, NC

Treasures of American

Film Archives 

Jeanine Basinger

Chair, Film Studies

Wesleyan University

Middletown, CT

Anthony Gittens

Executive Director, DC Commission

on the Arts and Humanities

Founder and Director, Washington

DC International Film Festival

Washington, DC

Richard Teller

Deputy Director of Development

Museum of Television and Radio

New York, NY

H. Randall Williams

(Layperson)

Community Arts Advocate

President, Black Belt

Communications Group

Montgomery, AL

International

Exchanges

Cornelia Carey

Executive Director

Craft Emergency Relief Fund

Montpelier, VT

Valerie Cassel

Director, Visiting Artists Program

School of the Art Institute of

Chicago

Chicago, IL

Y. David Chung

Artist

McLean, VA

Michael Peranteau

(Layperson)

Director

Center for AIDS/Hope and

Remembrance Project

Houston, TX

AccessAbility 

Panel A

Larry Field

President

Laurence Field & Associates

Middletown, DE

Gay Drennon

Executive Director

Very Special Arts

Tallahassee, FL

Patricia Laird

Program Specialist

Administrator on Developmental

Disabilities, U.S. Department of

Health and Human Services

Washington, DC

Marirose Morris

Access Coordinator

Wyoming Arts Council

Cheyenne, WY

Mark Towner

Assistant Director

N.E. Document Conservation

Center

Andover, MA

Panel B

C.C. Conner

Managing Director

Houston Ballet

Houston, TX

Rebecca Z. Mays

(Layperson)

Arts Volunteer, Medical

Administrator, (retired)

Charleston, SC

Gail Silva

Director

Film Arts Foundation

San Francisco, CA

ArtsREACH

Cheryl Davis Bowmer

Organizational Development

Consultant

Philadelphia, PA

Ray Doughty

Music Educator (retired)

Fort Mill, SC

John Gonzales

Potter, Tribal Affairs Specialist

Santa Fe, NM

Richard Huff

Executive Director

Irving Arts Center

Irving, TX

Dennis Jones

Director, Center for Design Science

Virginia Polytechnic Institute and

State University

Blacksburg, VA
49

James Lysen

(Layperson)

Planning Director

City of Lewiston

Lewiston, ME

Charlie Seeman

Executive Director

Western Folklife Center

Elko, NV

Sonia Tower

Director, Office of Cultural Affairs

City of Buenaventura

Ventura, CA

An-Ming Truxes

Senior Program Manager

Connecticut Commission on the

Arts

Hartford, CT

Amy Jordan Webb

Director, Heritage Tourism Program

National Trust for Historic

Preservation

Boulder, CO

Folk & Traditional

Arts Infrastructure

Initiative

C. Kurt Dewhurst

Director

Michigan State University Museum

East Lansing, MI

Maria Carmen Gambliel

Folk Arts Director

Idaho Commission on the Arts

Boise, ID

Alan Jabbour

Director, American Folklife Center

Library of Congress

Washington, DC

Dorothy Sara-Louise Lee

(Layperson)

Associate Rector for Evangelism

and Spiritual Formation

St. Paul’s Episcopal Church

Indianapolis, IN

Peter Mattair

Executive Director

Fund for Folk Culture

Santa Fe, NM

Rita Moonsammy

Manager of Community Arts

Services

New Jersey State Council on the Arts

Trenton, NJ

Shalom Staub

President and Chief Executive

Officer

Institute for Cultural Partnerships

Harrisburg, PA

Chamber Music

Residency

Stephanie Ancona

Manager, Creation & Presentation

Fund

New England Foundation for the Arts

Boston, MA

Carole Birkhead

(Layperson)

Former Chair, American Symphony

Orchestra League

Former President, Louisville

Symphony Orchestra

Louisville, KY

Colleen Jennings-Roggensack

Executive Director, Public Events

Arizona State University

Tempe, AZ

Dance Leadership

Initiatives

Norman A. Brown

(Layperson)

Teacher

McCullough Elementary School

New Castle, DC

Marda Kirn

Founder

Colorado Dance Festival

Lafayette, CO

Nancy Trovillion

Assistant Director

North Carolina Arts Council

Raleigh, NC

Maria Troy 

Associate Curator

Wexner Center for the Arts

Columbus, OH
Financial Summary

50

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

Summary of Funds Available1 Fiscal Year 1999

Program and State Grant Funds2 $66,022,000

Matching Grant Funds (3:1 match) 14,500,000

Total Federal Appropriations $80,522,000

Nonfederal Gifts3 $232,185

Interagency Transfers3 430,000

Unobligated Balance, Prior Year3 3,800,174

Total Funds Available $84,984,359

1 Excludes salaries and expenses, program support and computer conversion funds.

2 The FY 1999 appropriation includes $25,486,000 for support of state arts agencies and regional arts organizations 

and $6,952,000 for support through the underserved communities set-aside.

3 Only grantmaking funds, including unobligated commitments totaling $1,245,392.

Funds Obligated Fiscal Year 1999

Grants to Organizations

Creation & Presentation $17,165,950

Education & Access 12,309,520

Heritage & Preservation 3,548,000

Planning & Stabilization 5,866,597

Grants to Individuals

Literature Fellowships 800,000

American Jazz Masters Fellowships 60,000

National Heritage Fellowships 130,000

State and Regional Partnerships 33,827,175

Leadership Initiatives

National Millennium Projects 2,116,886

International Exchanges 375,000

AccessAbility 257,000

ArtsREACH 749,280

Folk & Traditional Arts Infrastructure Initiative 810,000

Other Initiatives (includes Interagency Partnerships) 4,098,255

Policy Research & Analysis 500,000

Total Funds Obligated 4 $82,613,663

4 Program obligations reflect FY 1999 transactions and in some cases may differ from final allocations due to 

variations in the obligations of prior year monies or receipt of gifts and funds from other agencies.
51

Appropriations History 19 9 9 A N N UA L R E P O R T

Fiscal Year Total Funds

1966 $ 2,898,308

1967 $ 8,475,692

1968 $ 7,774,291

1969 $ 8,456,875

1970 $ 9,055,000

1971 $ 16,420,000

1972 $ 31,480,000

1973 $ 40,857,000

1974 $ 64,025,000

1975 $ 80,142,000

1976 $ 87,455,000

1976T* $ 35,301,000

1977 $ 99,872,000

1978 $ 123,850,000

1979 $ 149,585,000

1980 $ 154,610,000

1981 $ 158,795,000

1982 $ 143,456,000

1983 $ 143,875,000

1984 $ 162,223,000

1985 $ 163,660,000

1986 $ 158,822,240

1987 $ 165,281,000

1988 $ 167,731,000

1989 $ 169,090,000

1990 $ 171,255,000

1991 $ 174,080,737

1992 $ 175,954,680

1993 $ 174,459,382

1994 $ 170,228,000

1995 $ 162,311,000

1996 $ 99,470,000

1997 $ 99,494,000

1998 $ 98,000,000

1999 $ 97,966,000

* In 1976, the Federal government changed the beginning of the fiscal year from July 1 to

October 1, hence the 1976 Transition (T) Quarter.

Fiscal Years 1966-1999
52

1999 Annual Report published by:

National Endowment for the Arts Office of Communications

Katherine L. Wood, Acting Director

Victoria Hutter, Editor

With thanks to the staff for their assistance.

Designed by:

Simmons Design, Arlington, Virginia

Cover photos

Background:

The New York City-based modern dance ensemble, Susan Marshall & Company, performed The Most Dangerous Room in the House at the Edinburgh International Festival

with support from the NEA’s Fund for U.S. Artists at International Festivals and

Exhibitions. Photo by Geoffrey M. Hansen

Boxed photos, clockwise from upper left:

The Philharmonia Chorale performing with the Philharmonia Baroque Orchestra in

Handel’s oratorio Solomon, a company premiere that opened the orchestra’s 18th home

season in the Bay Area. Photo by Marty Sohl 

A camper creates with clay at AileyCamp in Kansas City, Missouri. Inspired by the late

choreographer Alvin Ailey, AileyCamp provides young people with dance instruction, life

skills classes, guest speakers and field trips. Photo by Judith Burngen

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

A Folk & Traditional Arts Infrastructure Initiative grant to the Iowa Arts Council supported

the Festival of Iowa Folklife. Festival artists featured here are two Kalona Quilters. Photo

by Steve Ohrn

Voice/TYY:(202)682-5496

For individuals who are deaf or hard-of-hearing

Individuals who do not use conventional print may contact the Arts

Endowment’s Office for AccessAbility to obtain this publication in an alternate

format. Telephone: (202) 682-5532

National Endowment for the Arts

1100 Pennsylvania Avenue, NW

Washington, D.C. 20506-0001

(202) 682-5400

This annual report can be accessed electronically at the 

NEA Web site: http://www.arts.gov.

Credits 19 9 9 A N N UA L R E P O R T

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