NATIONAL ENDOWMENT FOR THE ARTS

1100 PENNSYLVANIA AVENUE, NW WASHINGTON, DC 20506-0001
1998 Annual Report

National

Endowment

for the Arts
Inside covers

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The President

The White House

Washington, D.C.

Dear Mr. President:

It is my pleasure to transmit the Annual Report for Fiscal Year 1998 of the National Endowment for

the Arts.

Since its founding by the U.S. Congress in 1965, the National Endowment for the Arts has awarded

approximately 110,000 grants that have led to the flourishing of the arts in America and have

greatly enriched the lives of Americans everywhere. Small and large museum exhibitions, touring

theater productions, arts classes for young people, televised concerts, folk arts festivals, innovative

partnerships with private and public organizations — the National Endowment for the Arts is a

hallmark of all these and more.

Endowment grants this year supported projects ranging from a film retrospective of Paul Robeson

in Philadelphia to a Latino performing arts series in Lawrence, Kansas to an elementary school

music program in Nashville. Funds also went towards a folk art apprenticeship program in Carson

City, Nevada; the publication of an anthology of Alaskan native writers and storytellers; and world

premiere dance performances in Houston.

I am especially proud of our new ArtsREACH program, inaugurated in 1998. This initiative provides

direct grants to organizations in 20 states where the agency’s direct grant recipients have been

traditionally underrepresented. It assists communities in those states with the development or

implementation of cultural plans — thus advancing the arts in new areas of our nation.

Reflecting the rich diversity of the American people, the arts help us to remember the past, understand each other in the present, and express our dreams for the future. As we venture towards a

new millennium, the Arts Endowment remains dedicated to bringing the best of the arts to all

Americans.

Bill Ivey

Chairman 
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The New York String Orchestra

Seminar at New School University

gives young instrumentalists selected

from nationwide auditions the

opportunity to study under the

guidance of master musicians. Here

participants rehearse in Carnegie Hall

with conductor Jaime Laredo and 

the Guarneri String Quartet. Photo by

Peter Checchia.
CONTENTS 3

CONTENTS

Chairman’s Message ........................................................................................................................ 1

1998: The Year in Review.............................................................................................................. 4

National Council on the Arts .................................................................................................... 7

Grants to Organizations................................................................................................................ 8

Creation & Presentation................................................................................................................ 8

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

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

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

Grants to Individuals .................................................................................................................... 18

Literature Fellowships ................................................................................................................ 18

American Jazz Masters Fellowships .................................................................................. 19

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

Partnership Agreements .......................................................................................................... 20

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

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

International Exchanges............................................................................................................ 24

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

Folk & Traditional Arts Infrastructure Initiative ............................................................ 27

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

Policy Research & Analysis ...................................................................................................... 30

AccessAbility........................................................................................................................................ 32

National Medal of Arts ................................................................................................................ 33

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

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

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

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

Photo information: see credits page.
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1998:

TheYear

In Review

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 Landmark Year

Fiscal Year 1998 was a landmark year for the National Endowment for the Arts. Bill

Ivey, nominated by President William Clinton as the Endowment’s seventh

Chairman, was unanimously confirmed by the U.S. Senate on May 21 and sworn

into office on May 28, 1998. Ivey succeeded Jane Alexander in leading the agency

and articulating the national need for government support of the arts.

Under Chairman Ivey’s leadership, in 1998 the NEA began a process of goal setting, planning, and re-affirming the agency’s vision and mission. This process

resulted in a new strategic plan for the years 1999-2004. As required for all federal agencies by the Government Performance and Results Act, the plan includes

specific program goals with measurable outcomes. The goal-setting and planning process will be further described in the annual report for Fiscal Year 1999,

when the new strategic plan was released to the public.

Total appropriated funds for Fiscal Year 1998 were $98 million, down from the

1997 level of $99,494,000. With the agency’s appropriations came several other

Congressionally-mandated changes: 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 extension of the agency’s

outreach by giving priority to projects that reach underserved populations; and

an increase in the level of grant funds reserved for the state arts agencies, from

35 to 40 percent.

In Fiscal Year 1998 the Endowment awarded over 1,300 grants totaling $82 million in the areas of Grants to Organizations, Grants to Individuals, Leadership

Initiatives, and Partnership Agreements. Major program initiatives included

ArtsREACH, which funds the development and implementation of local cultural

plans through community partnerships of arts and non-arts organizations.

Through ArtsREACH, communities in 20 states traditionally underrepresented in

the agency’s total pool of grant recipients will strengthen their cultural organizations, develop or preserve their artistic resources, or apply arts-based solutions to

community issues or problems. A new Folk & Traditional Arts Infrastructure

Initiative addressed the needs of folk arts practitioners by providing funds for field

research, professional staff support, and broad dissemination of folk art forms

4

Jazz Education, Inc. of Houston, Texas gave performances and workshops at the 1998 Houston

International Jazz Festival. Sixteen-year-old saxophonist Samir Zarif performs here with the Summer

Jazz Workshop. Photo courtesy of Jazz Education.
YEAR IN REVIEW 5

through instruction, performances and exhibitions nationwide. The Endowment

also continued its leadership role in the Arts Education Partnership, which it founded

in 1995 with the U.S. Department of Education. The Partnership is managed by

the Council of Chief State School Officers and the National Assembly of State Arts

Agencies, and now includes over 100 national organizations committed to promoting arts education in elementary and secondary schools throughout the country.

For the first time in the agency’s history, six Congressional members served in a

non-voting, ex officio capacity on the National Council on the Arts, whose size was

reduced by Congress from 26 to 20. As of the end of Fiscal Year 1998, Council

membership is comprised of 14 private citizens appointed by the President, four

Congressional members appointed by the Speaker and Majority Leader of the

House and Senate, and two Congressional members appointed by the Minority

Leaders of the House and Senate. The Council advises the Chairman on policies

and programs; screens nominations that the Endowment solicits from the public

for the National Medal of Arts; and provides a second level of grant proposal

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

This Annual Report 

The organization of this report reflects the Endowment’s grantmaking structure

which began in Fiscal Year 1997 and remained in effect during Fiscal Year 1998. The

narratives and illustrations present highlights of the agency’s activities that took

place between October 1, 1997 and September 30, 1998. A summary of 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 1998 grants, cooperative agreements and interagency transfers are

available on the Endowment’s Web site at http://arts.endow.gov. These items may

also be obtained by e-mail or written request to the NEA Office of Communications,

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

Bill Ivey was sworn in by Vice President 

Al Gore as the Endowment’s seventh

Chairman in a White House ceremony.

Photo by Neshan H. Naltchayan.
The apprenticeship program at Augusta Heritage

Center at Davis & Elkins College in Elkins, West

Virginia pairs expert folk and traditional artists

with the next generation of practitioners.

Pictured are three master artists who participated

(clockwise from top): cooper Tyson Propst,

banjomaker Andy Boarman and fiddlemaker

Dayton Howes. Photos by Gerry Milnes.

6 19 9 8 A N N UA L R E P O RT
N AT I O N A L C O U N C I L O N T H E A RT S 7

National Council On the Arts

Bill Ivey, Chairman

Terms ending in 1996 Terms ending in 1998 Terms ending in 2000 Terms ending in 2002

Trisha Brown 1 Ronald Feldman 2 Patrick Davidson Nathan Leventhal

Dance Company Art Gallery Owner Television Producer Arts Presenter

Director/Choreographer New York, NY Camarillo, CA New York, NY

New York, NY 

Donald Hall 1 Barbara W. Grossman 2 Terry Evans Marsha Mason

Poet Scholar/Trustee Photographer Actress/Director

Danbury, NH Newton, MA Chicago, IL Santa Fe, NM

Hugh Hardy, FAIA1 Kenneth M. Jarin 2 William P. Foster

Architect Patron/Trustee Music Educator

New York, NY Philadelphia, PA Tallahassee, FL

Marta Istomin 1 Wallace D. McRae 3 Ronnie F. Heyman

Music School President/ Rancher/Poet Patron/Trustee

Musician Forsyth, MT New York, NY

Washington, DC

Colleen Jennings-Roggensack 1 Leo J. O’Donovan, SJ 3 Speight Jenkins

Arts Presenter University President Opera Company Director

Phoenix, AZ Washington, DC Seattle, WA

Roberta Peters 1 Jorge Perez 3 Richard J. Stern

Opera Singer/Trustee Patron/Trustee Patron/Trustee

Scarsdale, NY Miami, FL Chicago, IL

William E. Strickland, Jr. 1 Judith O. Rubin 2 Luis Valdez

Arts Administrator/Ceramist State Arts Council Member Theater Company Director

Pittsburgh, PA New York, NY San Juan Bautista, CA

George White 1 Rachael Worby 3 Townsend D. Wolfe, III

Theater Director/Producer Conductor Museum Director

Waterford, CT Wheeling, WV Little Rock, AR

1 Served until November 14, 1997.

2 Members serve until their successors take office.

3 Term expired September 3, 1998.

Ex Officio Members

Cass Ballenger (R-NC) John T. Doolittle (R-CA) Nita M. Lowey (D-NY)

U.S. House of Representatives U.S. House of Representatives U.S. House of Representatives

Hickory, NC Rocklin, CA Harrison, NY

Susan M. Collins (R-ME) Richard J. Durbin (D-IL) Jeff Sessions (R-AL)

U.S. Senate U.S. Senate U.S. Senate

Bangor, ME Springfield, IL Mobile, AL
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Grantsto

Organizations

The National Endowment for the Arts offers assistance to a wide range of nonprofit organizations that carry out arts programming. The Endowment funds

exemplary projects in all the artistic disciplines, including dance, design, folk and

traditional arts, literature, media arts, museums, music, musical theater, opera, theater, visual arts, arts education, and presenting, as well as multidisciplinary pursuits.

Grants are awarded to arts, educational, and community organizations for specific projects rather than for general operating or seasonal support. All grants must

be matched by non-federal sources at least 1-to-1.

During Fiscal Year 1998, 2,074 applications were submitted from organizations

seeking Endowment funding, and 1,178 grants totaling $38,649,673 were awarded. A complete listing of these grants is posted on the Endowment’s Web site at

http://arts.endow.gov.

Creation & Presentation

Through its Creation & Presentation category, the Arts Endowment fosters the

creation of new artistic works, and encourages the public presentation and dissemination of art forms of all cultures and periods. Funded projects provide the

resources, time and space 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, through performances, exhibitions, festivals, publications, touring, 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.

Creation & Presentation was the largest award category in 1998, receiving 49 percent of all Grants to Organizations applications. The Endowment funded 620 projects for a total of $17,212,474. 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 new or existing works of art, often including educational and interpretive activities. For instance, the North Carolina Museum of Art in

Raleigh received funding to reinstall its African, New World, and Oceanic collections and to provide accompanying public education and outreach programs.

The project offered museum visitors an opportunity not only to see artistic objects

from these parts of the world, but also to understand how the objects were created, their original significance and use, and their connection with the viewer.

Many new performing arts works have been created with Endowment funds. In

1998, Opera/Omaha in Nebraska received a grant for the creation and premiere

of a new opera by American composer Libby Larsen. The majority of Creation &

Presentation awards in dance, musical theater and theater were for the commis8

Graywolf Press in St. Paul, Minnesota

published and distributed nationally

eight books of poetry. Except by

Nature by Sandra Alcosser, pictured

above, received the James Laughlin

Award of the American Academy 

of Poets. Photo ("Amelia Island,"

1989) by Clyde Butcher and 

cover design by Jeanne Lee for

Graywolf Press.
GRANTS TO ORGANIZATIONS 9

sioning and presentation of new works, such as the grant to

Perseverance Theater in Douglas, Alaska for the development and production of a new play by Anne Bogart. Visual arts projects funded by

the Endowment include a variety of artists’ residencies, exhibitions,

commissions for public art, and critical publications; an example is the

American artists’ residency program of the Bemis Center for

Contemporary Arts in Omaha, Nebraska. Many grants in the field of literature went to publishing projects such as the Antioch Review in

Antioch, Ohio and Quarterly West in Salt Lake City. Media arts grants

funded a variety of documentaries and broadcast series, film festivals,

and radio productions; for example, a grant to the Kentucky

Educational Television Foundation in Lexington supported production

of three episodes of American Shorts, a series of television dramas

adapted from short American plays.

Some 1998 Creation & Presentation grants funded projects celebrating

the millennium, such as the grant to Western Public Radio in San

Francisco for Lost and Found Sound: An American Record. This series of

public radio programs for national broadcast chronicles, reflects and

celebrates the twentieth century in sound, through richly layered

audio stories created by noted radio producers and other artists.

Another grant went to the Chicago Symphony Orchestra’s millennium

project, “Roots and Branches: A Retrospective of Twentieth Century Music,”

featuring performances, classes, publications, and national radio broadcasts.

Arts Endowment funds have broad geographic distribution through 

this category. Creation & Presentation grants were made directly to

organizations in 46 states, the District of Columbia, Puerto Rico,

and the U.S. Virgin Islands. In addition, 173 of the 620 grants

went towards multi-state projects that toured or were distributed across state lines, widely spreading the impact of

federal dollars. For example, a grant to the Jacob’s

Pillow Dance Festival in Lee, Massachusetts supported a

consortium of presenters in Maine, Massachusetts, Vermont,

New Hampshire and Minnesota for the development and

presentation of new collaborative works by contemporary

choreographers and jazz composers, benefiting audiences in all five states.

The Film Arts Foundation in San Francisco and

filmmaker Anne Makepeace produced a

documentary on the life and work of photographer

Edward S. Curtis for broadcast on public television’s

American Masters series. This photograph, "Chief of

the Desert, Navajo," was taken by Curtis in 1904.

Photo courtesy of the Library of Congress.

Principal dancers of the Pennsylvania Ballet in

Philadelphia in a performance of Sfrenato, a newly

commissioned work by choreographer Matthew

Neenan. Photo copyright Paul Kolnik.
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Education & Access

The Arts Endowment maintains that all Americans should have lifelong

opportunities to experience the arts — as learners, makers and

audience members. Education & Access grants expand opportunities for lifelong arts learning and help make the arts available to

all Americans. In 1998, the Endowment awarded 265 Education

& Access grants for a total of $9,279,000. Direct grants were

awarded to organizations in 41 states and the District of

Columbia, with grants for multi-state projects ensuring that

funded activities reached every state in the country. For example, a grant to the Council of Chief State School Officers in Washington,

D.C. went towards arts education assessment in 14 states.

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

that the development of artistic skills can improve cognition, increase

confidence and communication, and enhance the overall learning environment. NEA education grants in 1998 encompassed a full range of

learning experiences, such as the award to the Adams County School

District 14 in Commerce City, Colorado supporting the “Next Generation

Project: Connecting Youth, Teachers, and Community” through music

10

The Portland Art Museum in Oregon conducted an ongoing statewide project 

with the Northwest Film Center designed to expand arts education and 

promote media literacy. Here filmmaker-in-residence Enie Vaisburd guides a 

student photographer in Ontario, Oregon. Photo by Julie Quastler.

The Baltimore Symphony Orchestra’s Arts Excel partnership integrates music with other

subjects in grades K-12 in Baltimore County, Maryland. Here violinist Eddie Drennon of the

Umoja String Quartet instructs Lansdowne High School students at the keyboard.

Photo courtesy of Lansdowne High School.
GRANTS TO ORGANIZATIONS 11

and dance activities. Other support of in-school projects included a grant to the YMCA of Billings,

Montana to bring literary, visual and performing artists

to schoolchildren in 35 towns, 18 counties and two

Native American reservations.

Important partnerships between schools and cultural

organizations were nurtured by Endowment grantees

such as the Vesterheim Norwegian-American

Museum in Decorah, Iowa. The “DK-12: Design for

Thinking” project at the University of the Arts in

Philadelphia and the American Festival Project

Training Program in Whitesburg, Kentucky provided

professional development for teachers and art specialists. Other Endowment awards supported education projects that allowed master artists to work with

apprentices, such as the Urban Institute for

Contemporary Arts’ photography program for

teenagers in Grand Rapids, Michigan.

Projects emphasizing access to the arts varied widely

and included distinct approaches to making the arts

available to all Americans. As touring is an important

way to bring the arts to rural communities, the

Endowment supported such projects as the Alabama

Shakespeare Festival’s five-state tour of The Taming of

the Shrew. Among the vitally important programs for

young audiences funded was an educational concert

series by the Fargo-Moorhead Orchestral Association,

which reached 6,000 children in North Dakota.

The Endowment also helped make possible high impact

projects serving older adults and people with disabilities.

An example from the Boston area is the WGBH

Educational Foundation’s creation of descriptive video

services, which make public television programs more

accessible to blind individuals. Other funded projects

exposed participants to various ethnic art forms or genres, such as the Japanese American Cultural and

Community Center’s presentations of traditional

Japanese arts to the diverse communities of Los

Angeles. Such programs often serve to heighten a community’s awareness and appreciation of its cultural

resources.

The Student Outreach Program of A Noise Within in

Glendale, California enabled Los Angeles area school

groups to see the theater’s 1998 production of

Sophocles’ classic drama, Oedipus the King. Photo by

Craig Schwartz.

Voices of Youth, a project of the Western Folklife Center in Elko, Nevada,

teaches young people about their cultural heritage while developing

skills in photography and audio recording. Here intern Ranchel Sandoval

works with audio coach Jack Loeffler to edit her recordings for radio.

Photo by Bruce Hucko.
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Heritage & Preservation

Reflecting the many threads that comprise the cultural and aesthetic fabric of this

country, the diverse artistic heritage of the United States is unique in the world.

Preservation of this heritage and the nation’s plentiful artistic accomplishments

enriches the lives of all generations of Americans. Heritage & Preservation grants

honor and make visible the artists and art forms of America’s many cultural

groups; preserve the significant achievements of multiple artistic traditions; and conserve important works of art for future generations.

In 1998, the Arts Endowment supported 140

Heritage & Preservation projects at a level of

$4,155,400 in 33 states, the District of Columbia,

and Puerto Rico. Grants covered a wide variety of

activities, from conservation of artworks and artistic repertories to presentations of a panoply of

artists and art forms. Funded projects ranged

from the traditional, such as the gathering of the

Northwest Native American Basketweavers’

Association in Olympia,Washington, to the innovative, such as the development of a national public television series by Folk Traditions, Inc. in New

York City about the evolution of the Broadway

musical.

12

At the 1998 Moanalua Gardens

Foundation’s Prince Lot Hula Festival

in Honolulu, Hula masters conducted

classes and danced in traditional and

modern styles. Pictured is Aunty

Genoa Keawe, the first lady of

Hawaiian song. Photo by Eddie

Freeman.

A technical assistance program of Cornerstones Community Partnerships in Santa Fe trains

community residents in adobe construction and conservation techniques, to preserve the

cultural heritage of New Mexico. Here volunteers make extensive roof repairs to the

Nuestra Senora de la Asuncion church in Placita. Photo by Ed Crocker.
Heritage projects supported by the Endowment ranged from the presentation of

traditional Asian arts in Seattle to a hula festival in Honolulu. A grant to Brown

University’s Haffenreffer Museum in Providence, Rhode Island went towards the

catalogue and video components of an exhibition on Kiowa and Comanche

Lattice Cradles, which will travel to Tulsa, Oklahoma and at least three additional

sites. In Sitka, Alaska, master artists working with apprentices will create Tlingit

carvings for the Sitka Tribe’s new Community House. A grant to the Western

Folklife Center in Elko, Nevada will help provide for two permanent exhibitions

commemorating the ranching traditions of the American West. The West Virginia

Folk Arts Apprenticeship Program allows traditional artists to individually instruct

younger practitioners, ensuring the survival of important artistic traditions.

An array of funded preservation projects included the saving of two American

Yiddish features from deterioration by the National Center for Jewish Film in

Waltham, Massachusetts. Ten important works of Hispanic literature from the

1960’s and 1970’s will be restored to print by Arte Publico Press in Houston,Texas.

Four 17th century tapestries illustrating scenes from the life of Christ will be conserved at New York’s Cathedral of St. John the Divine. A grant to Indiana

University in Bloomington will support the conservation and reinstallation of

Thomas Hart Benton’s epic murals from 1933. In an important breakthrough for

the dance field nationwide, a grant to the Dance Notation Bureau in New York will

support development of a computer program linking Life Forms animation and

Laban Writer notation software, facilitating the notation and preservation of

dance history and choreography for artists, students, and scholars.

GRANTS TO ORGANIZATIONS 13

The Chariot of Aurora, a monumental

Art Deco lacquer relief, newly

conserved and installed as part of the

permanent exhibition at the Carnegie

Museum of Art in Pittsburgh. Photo

courtesy of the Carnegie Museum 

of Art.
19 9 8 A N N UA L R E P O RT

Planning & Stabilization

America’s nonprofit arts organizations, large and small, constantly seek to improve

their financial and administrative structures so as to effectively carry on their

work. Through Planning & Stabilization grants, the Arts Endowment strengthens

the ability of arts organizations to accomplish their missions and realize their

goals. In 1998, 153 Planning & Stabilization grants were awarded to organizations

in 33 states and the District of Columbia, totaling $8,002,799. This total includes

$941,000 to arts service organizations, such as OPERA America and the

Association of American Cultures, for projects serving their constituent fields.

14

Arts Horizons in Englewood, New Jersey created a cash

reserve, strengthening its ability to touch the lives of

children. Above: a boy in Orange, New Jersey has fun on 

the drums in an after-school program. Right: girls enjoy a

performance at PS 203 in Queens, New York. Photos by

Sherry Rubel.
GRANTS TO ORGANIZATIONS 15

Planning grants help an organization assess its strengths, weaknesses and financial health. Funded projects may be comprehensive, including all areas of operation, or targeted, focusing on specific organizational activities. Some funded projects develop strategies for building partnerships and resources among a group

of organizations linked by geography, programming, artistic field or mission.

A number of 1998 grants facilitated long range planning, marketing assessments

and/or feasibility studies, such as those awarded to Ballet West in Salt Lake City;

the Atlantic Center for the Arts in New Smyrna Beach, Florida; the National

Association of Latino Arts & Culture in San Antonio; the Wichita Art Museum in

Kansas; the Arkansas Repertory Theater Company in Little Rock; the Kentucky Art 

and Craft Foundation in Louisville; and the Watershed Center for the Ceramic Arts

in Newcastle, Maine. Other planning grants went to the Koahnic Broadcast

Corporation in Anchorage, Alaska to assess its capacity to serve the Native

American community; the United Tribes Technical College in Bismarck, North

Dakota to support management assistance for the college’s Cultural Arts Program;

and Space One Eleven in Birmingham, Alabama to plan a community-based,

earned income program.

Company members of the Muntu

Dance Theatre in Chicago, which

undertook a strategic planning

process, in a 1998 performance 

of the Juba Jig. Photo by Kwabna

Shabu.
19 9 8 A N N UA L R E P O RT

Stabilization grants help organizations to determine and realize their appropriate

institutional size; maximize and diversify their resources; or enhance their abilities

to serve or strengthen their arts field. For example, a grant to the Acadiana Arts

Council in Lafayette, Louisiana will expand services to an eight-parish region

comprised of 72 rural communities in the southwestern part of the state. The Omaha

Symphony Association in Nebraska received funds to expand its box office services, both to customers in other parts of the city and to other arts organizations

marketing their own programs. The Florida Grand Opera in Miami was funded to

establish a new outreach department that will expand audiences by better serving the diverse communities of south Florida.

Some stabilization grants help arts organizations to strengthen their institutional capacity by establishing or augmenting a term endowment or term cash

reserve. These grants must be matched by non-federal sources at least 3-to-1.

Such grants in 1998 went to, among others: the Muntu Dance Theatre in Chicago;

Writers in the Schools in Houston; the Langston Hughes Cultural Arts Center in

Seattle; the San Francisco Jewish Film Festival; the Joslyn Art Museum in Omaha;

the Augusta Symphony in Georgia; the Rhode Island Philharmonic Orchestra in

Providence; the University Musical Society in Ann Arbor, Michigan; the Missoula

Children’s Theatre in Montana; and the Pregones Touring Puerto Rican Theatre in

The Bronx, New York.

16

The Omaha Theater Company for Young People in Nebraska implemented an earned income plan, including revenue from

ticket sales for this production of The Boxcar Children. Photo by James Keller.
Enthusiastic audience members on

opening night at the 1998 San

Francisco Jewish Film Festival, which

established a cash reserve to better

serve the community. Photo by

Richard Bermack.

GRANTS TO ORGANIZATIONS 17
19 9 8 A N N UA L R E P O RT

Grants to

Individuals

The Arts Endowment funds individual artists directly through its Literature,

American Jazz Masters, and National Heritage Fellowships. All fellowship recipients must be U.S. citizens or permanent residents. Literature Fellowships in poetry and prose, which are open for direct application, are awarded to writers of

exceptional promise who frequently become luminaries of contemporary

American literature. The American Jazz Masters and National Heritage

Fellowships — awarded on the basis of nominations — are conferred on master

artists with distinguished careers.

Literature Fellowships

Literature Fellowships offered by the National Endowment for the Arts are

designed to help writers at critical stages of their careers. During the past 32

years, the National Endowment for the Arts has awarded Literature Fellowships to

2,337 writers, and sponsored work resulting in over 2,200 books, including many

of the most acclaimed novels of contemporary American literature: Bobbie Ann

Mason’s In Country, William Kennedy’s Ironweed, Jane Hamilton’s A Map of the

World, and Alice Walker’s The Color Purple. Creative writing fellowships are awarded in alternate years for poetry and for prose, and translation fellowships fund the

translation of literary works originally written in foreign languages into English.

Awards are in the amount of $20,000 each.

Competition for Literature Fellowships is extremely vigorous. Of 587 applicants

in 1998, 32 were awarded grants, a funding rate of five percent. This year’s creative writing fellowships went to: Steven Bloom, Heidelberg, Germany; Alan

Brown, New York, New York; Charlie Elizabeth Buck, Virginia City, Nevada; Veronica

Chambers, Brooklyn, New York; Lan Samantha Chang, Appleton, Wisconsin;

Nancy Amanda Cockrell, Roanoke, Virginia; Carolyn Cooke, Point Area, California;

Jennifer C. Cornell, Corvallis, Oregon; John Daniel, Elmira, Oregon; Tracy D.

Daugherty, Corvallis, Oregon; Peter Ho Davies, Eugene, Oregon; Pam Durban,

Atlanta, Georgia; Elizabeth J. Evans, Tucson, Arizona; Stephanie Grant, Brooklyn,

New York; Arthur T. Homer, Omaha, Nebraska; Ngoc (Jade) Quang Huynh, Boone,

North Carolina; Louis B. Jones, Nevada City, California; Kathy J. Karlson, University

Park, Maryland; Anna Maria Keesey, Portland, Oregon; Miriam Levine, Arlington,

Massachusetts; Anita Mathias, Williamsburg, Virginia; Holly W. Matter, Seattle,

Washington; Martha S. McPhee, New York, New York; Emily Meier, St. Paul,

Minnesota; Nancy B. Reisman, Providence, Rhode Island; Robert D. Schultz,

Decorah, Iowa; Jessica Treadway, Arlington, Massachusetts; Kathleen Tyau, Gaston,

Oregon; Marc John Vassallo, New Haven, Connecticut; and Kate Walbert, Stony

Creek, Connecticut. Translation fellowships went to Wayne P. Lammers of Tigard,

Oregon and Brian Thomas Oles of Seattle, Washington, for translation of prose

works originally written in Japanese and Russian.

18

Kathleen Tyau used her Literature

Fellowship to write her novel Makai,

published by Farrar, Straus and

Giroux in 1999. Photo copyright

Stewart Harvey.
GRANTS TO INDIVIDUALS 19

American Jazz Masters Fellowships

Jazz music, born in America in the 20th century and adopted by the world, has

been called by Columbia University jazz studies professor Robert O’Meally “the

music of e pluribus unum — with a swinging beat.” Proud of this rich legacy, the

National Endowment for the Arts recognizes the importance of jazz as a truly

American art form and seeks to increase awareness of our jazz heritage and

encourage its perpetuation. The agency does this through awards to the

men and women who have distinguished themselves as masters of the

trade. To support their artistic excellence and continuing contributions,

each American Jazz Master receives $20,000.

Since these fellowships began in 1982, the Endowment has recognized 55

persons as American Jazz Masters. This year’s honors were bestowed on Dave

Brubeck, pianist and composer from Wilton, Connecticut; Art Farmer, jazz trumpeter and flugelhorn

player now living in Vienna, Austria; and Joe Henderson, tenor saxophonist from San Francisco, California. Chairman Ivey

presented the awards during a concert celebration at the International Association of Jazz Educators Conference in Anaheim,

California before an appreciative audience of more than 5,000.

National Heritage Fellowships 

“The only way that things will always be is if you keep them the way you were taught.”

These words, spoken by 1998 National Heritage Fellow Sophie George, express the core

spirit and guiding intent of these fellowships. The folk and traditional arts are those

streams of artistic creation that emerge over time within communities that share a common heritage. Since 1982, the first year that National Heritage Fellows were named,

220 awards have been conferred. Their purpose is twofold: 1) to honor outstanding

artists who practice one of the many artistic traditions that make up our nation’s multifaceted cultural patrimony; and 2) to celebrate these artists and their traditions and

bring them to broad public attention. These awards annually celebrate the diversity

and excellence that mark America’s folk and traditional arts.

Each National Heritage Fellow receives a $10,000 award. In 1998, the awards

were presented by First Lady Hillary Rodham Clinton in a White House ceremony, and the fellows then performed or presented their handiwork to the

public in an evening gala in Washington, D.C. The 11 artists or ensembles

honored were the Aspara Dancers, Cambodian traditional dancers from Reston, Virginia;

Eddie Blazonczyk, a Polish-American musician from Bridgeview, Illinois; Dale Calhoun, Anglo-American boatbuilder from Tiptonville, Tennessee; Bruce Caesar, Sac and Fox-Pawnee German silversmith from Anadarko, Oklahoma;

Antonio “Tony”De La Rosa,Tejano conjunto accordionist from Riviera,Texas; the Epstein Brothers, Jewish Klezmer musicians from Tamarac, Florida; Sophia “Sophie” George, Yakama-Colville beadworker from Gresham, Oregon; Nadjeschda

Overgaard, Danish-American Hardanger needleworker from Kimballton, Iowa; Harilaos Papapostolou, Greek Byzantine

chanter from Potomac, Maryland; Claude “The Fiddler”Williams, African-American jazz/swing fiddler from Kansas City,

Missouri; and Roebuck “Pops” Staples, African-American Gospel/Blues musician from Dolton, Illinois.

American Jazz Master Dave Brubeck at the keyboard.

Photo courtesy of Sutton Artists Corporation.

National Heritage Fellow Dale Calhoun, a

fourth-generation boat builder, is

acclaimed as the last craftsman of the

Reelfoot Lake stumpjumper. Photo by

Robert Cogswell.
19 9 8 A N N UA L R E P O RT

Partnership

Agreements

Through Partnership Agreements with the arts agencies of all 50 states, six U.S.

jurisdictions,* and seven regional arts organizations, the National Endowment for

the Arts sponsors local, statewide and regional arts activities for millions of persons. In 1998, Partnership Agreements totaled $33,425,518. A complete listing is

available on the Endowment’s Web site at http://arts.endow.gov.

State arts agencies used their federal and state-appropriated funds in 1998

to assist more than 27,000 projects in more than 5,400 communities. Twentyeight percent of these grants went directly to rural and smaller communities

outside major metropolitan areas. With leadership from the Arts

Endowment, state arts agencies assisted both rural and inner city communities through support for: preservation of cultural heritage; arts

programs for youth and families; assistance to developing arts groups;

cultural tourism initiatives; and other projects designed to promote

community and economic development through the arts. For example, the Ohio Arts Council’s Appalachian Arts Initiative uses NEA funds

to support the Mural Corridor, an economic development and cultural tourism partnership among seven Appalachian communities. The

historic murals illustrate the heritage of the towns, and each mural

includes an image of a road sign that points to other murals along the

corridor.

More than 2,600 communities of all kinds were reached through the

Endowment’s arts education partnership with state arts agencies.

Through this partnership the NEA provides students in grades K-12 with

the benefits of comprehensive arts education. Fiscal Year 1998 federal

and state funds were used by state arts agencies to support arts curriculum development; collaborations between schools and local arts groups;

artist residencies in schools; professional development for artists and

teachers; and planning and partnerships with state education departments. In New Hampshire, an innovative, three-year residency project enabled

students working with an architect, sculptor and theater artist to design and build

a walkway, platform and environmental sculpture at a nearby wetlands, and to

dramatize the wetlands story.

Through Partnership Agreements, the Endowment continued to assist numerous

arts organizations, with about 42 percent of state arts agency partnership monies

going towards organizational operating and professional support. Partnership

funds assisted performing ensembles, museums and galleries, arts councils and

associations, and arts centers and facilities. Partnership Agreements assisted individual artists in most states by providing support for school and community residencies, performances, fellowships, creation of new work, and apprenticeships.

20

The Oregon Arts Commission’s Arts

Build Communities initiative. Top: a

senior citizen participates in Finding

Our Voices, a public reading project

at the Art Center in Corvallis.

Photo courtesy of Linn-Benton

Council for the Arts. Bottom: artist

Bill Kucha and students from the

First Resort Alternative School in

Lincoln City pose near a mural 

they constructed for the Arts-toWork project. Photo courtesy of the

Sitka Center for Art & Ecology.

* American Samoa, District of Columbia,

Guam, Northern Marianas, Puerto Rico,

U.S. Virgin Islands
PARTNERSHIP AGREEMENTS 21

The National Endowment for the Arts also awarded Partnership Agreements to

seven regional arts organizations. These private, nonprofit organizations, created

by state arts agencies to provide the public with a greater variety of arts experiences, help make outstanding dance, music, and theater performances available

in underserved areas. In 1998 the regional organizations used NEA funds to assist

1,148 local, nonprofit groups throughout the country in presenting performing

arts events in their communities. In most cases, the visiting artists offered school

or community workshops that enhanced and expanded the impact of the performances.

Marking the first time that two regional arts organizations shared artistic and

financial resources, the Endowment provided $602,300 for the Heartland Arts

Fund of Arts Midwest and the Mid-America Arts Alliance. The Fund enabled 166

different arts presenters to bring 675 touring performances and over 1,400 educational activities to 141 different communities throughout Arkansas, Illinois,

Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota,

Ohio, Oklahoma, South Dakota, Texas, and Wisconsin. Many of these performances — music, dance and theatre — took place in small towns, rural localities

or economically distressed areas.

Art teacher Mary Giandalone and artist-in-residence Judy Coffman work with students at Parker Elementary School in Martin County,

through an arts education program of the Florida Division of Cultural Affairs. Photo courtesy of Martin County Council for the Arts.
19 9 8 A N N UA L R E P O RT

Leadership

Initiatives

Through Leadership Initiatives, the Arts Endowment develops and carries out

major, pioneering projects of national or international significance. Projects that

celebrate the millennium, address special community needs, enhance cities of all

sizes, and facilitate international exchange are all expressions of the Endowment’s

leadership role. Frequently these projects are carried out in collaboration with

other federal and nonprofit organizations. Leadership Initiatives complement

the agency’s principal grantmaking activities, develop the arts in new geographic or thematic areas, and bring the arts to bear on new realms of human activity.

In 1998 they were funded at a level of $9,095,987. A complete list of Leadership

Initiatives is available on the Endowment’s Web site at http://arts.endow.gov.

Millennium Projects

The National Endowment for the Arts has joined with the White House, other federal agencies, artists and arts organizations, and community groups nationwide to

honor the past and imagine the future at the turn of the millennium. Endowment support will help to make possible a wide array of arts activities over the next

few years, reaching communities in every state. These Millennium Projects will

both showcase the best of the arts and invite community residents to become

part of the creative process — from inception to completion. The projects will be

guided by some of America’s finest artists, curators, and arts administrators.

In Fiscal Year 1998, the Arts Endowment invested $3,613,000

in a variety of national Millennium Projects. A special initiative funded four Millennium Television Series that examine American artistic achievements in the 20th century.

These series will provide the public with access to

America’s cultural heritage, and will be seen by millions of

persons of all ages and walks of life — not only through

initial premieres on public television, but also in re-broadcasts and through videocassette distribution to schools,

arts organizations, community groups, and libraries. The

series include: I’ll Make Me a World, about the crucial

role of African Americans in the arts; Free to Dance: The

African-American Presence in Modern Dance; American

Photography: A Century of Images; and JAZZ.

Other 1998-funded millennium activities include the Favorite Poem Project, the

centerpiece of Robert Pinsky’s tenure as Poet Laureate of the United States.

Conducted in partnership with the New England Foundation for the Arts, Boston

University and the Library of Congress, it starts with one question: “What is your

favorite poem?”A series of nationwide readings and events will give Americans the

chance to answer that question and to tell why. The project will culminate with

22

Robert Pinsky, Boston University

Professor of English and Creative Writing

and Poet Laureate of the United States.

Photo courtesy of Boston University

Photo Services.
LEADERSHIP INITIATIVES 23

the creation of a video and audio archive of more

than 1,000 Americans — of diverse ages, regions,

professions,and educational backgrounds — each

saying aloud a poem that he or she loves. The

archive, to be housed at the Library of Congress

Archive of Recorded Poetry and Literature, will be

a valuable educational and cultural resource that

will record the vigorous presence of poetry in

American lives at the turn of the millennium.

Continental Harmony, administered by the

American Composers Forum in St.Paul, Minnesota,

will give a musical voice to the next millennium.

The Endowment is working to ensure that when

America welcomes the new millennium, small

towns and big cities across the U.S. will celebrate

with music. Fifty original musical compositions — one in each state — are being commissioned by local arts and community organizations and will be given premiere performances

during the year 2000. Artists & Communities

residencies, administered by the Mid Atlantic

Arts Foundation in Baltimore, will engage some

of the nation’s finest visual and performing

artists in every state to create new work that

involves local host communities in the creative

process. Residency projects will address such

issues as family, health, values, community and cultural

diversity through the lens of the artist. Each community

selected to participate will be one in which local residents

lack readily available arts programs due to geography, economic conditions, ethnic background, disability or age.

SOS!2000 stands for Save Outdoor Sculpture! Half of

America’s outdoor sculpture is inadequately cared for

and in need of preservation, by either conservation

treatment or maintenance. Nearly 10 percent

urgently needs care. Through SOS!2000, a project

administered by Heritage Preservation, Inc.

in Washington, D.C., the Endowment

funds conservation treatment awards

that cover up to 50 percent of costs to

preserve artistically significant sculptures throughout the nation.

The National Dance Project, a

Leadership Initiative administered

by the New England Foundation

for the Arts, supported nationwide

dance tours by companies such as

the Ballet Hispanico of New York,

which appeared in 13 different

states. Here, company members

perform in choreographer David

Rousseve’s When Dreams Explode.

Photo by Bruce Laurance.

Detail from the Continental Harmony poster designed by

Gary Kelley. Courtesy of the American Composers Forum.
19 9 8 A N N UA L R E P O RT

International Exchanges

The Arts Endowment’s International Partnerships bring the benefits of international exchange to arts organizations, artists, and audiences nationwide through

collaboration with other funders. International exchanges showcase U.S. arts

abroad and broaden the scope of experience of American artists, to enrich the art

that they create. Funded by the NEA at a level of $465,000 in Fiscal Year 1998,

these activities help increase worldwide recognition of the excellence, diversity

and vitality of the arts of the United States.

In 1998, a long-standing partnership with the Japan-U.S. Friendship Commission

increased the number of artists participating in the U.S.-Japan Creative Artists’

Program from three to five. The Commission raised its match of Endowment

funds, permitting additional artists to benefit from this

experience. The program provides six-month residencies in Japan that allow American artists to work on

projects relevant to their artistic goals. It has yielded

many ongoing collaborations of artists who have

received support over the years. The program is significant as a symbol of goodwill and represents a lasting relationship between the two countries.

ArtsLink, a partnership that focuses on arts exchange

with Eastern and Central Europe and the Newly

Independent States, enables arts organizations across

the United States to host a visiting artist or arts administrator from this part of the world for five weeks. In

1998, foreign artists were placed with 41 organizations

ranging from the Vermont Studio Center in Johnson,

Vermont to the University of Iowa’s International Writing Program in Iowa City to

the Art Institute of Chicago. These ArtsLink fellows had opportunities to work on

projects with host institution staff and to interact with local artists and communities. Likewise, 24 American artists worked in the ArtsLink region and brought

their experiences home to their own communities. The Endowment’s partners

for ArtsLink are 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, a partnership of the Arts Endowment, United States Information Agency, Rockefeller

Foundation and Pew Charitable Trusts, again supported more than 100 American

performing artists and organizations to appear at over 160 festivals around the

world, from South Africa to Finland. In the visual arts, two artists represented the

U.S. at major biennial exhibitions, sculptor Judy Pfaff at the Sao Paulo Biennial in

Brazil and Nancy Spero at the Cairo Biennial in Egypt.

24

The Fund for U.S. Artists at

International Festivals and

Exhibitions, administered by Arts

International, helped bring this

production of A Midsummer Night’s

Dream by Pacific Northwest Ballet of

Seattle to the 1998 Edinburgh

International Festival in Scotland.

Photo by Douglas Robertson.
LEADERSHIP INITIATIVES 25

ArtsREACH

Fiscal Year 1998 marked the beginning of ArtsREACH, a pilot project launched to

continue the Endowment’s long history of helping communities apply cultural

solutions to community needs. ArtsREACH provides financial support to organizations in states that previously were underrepresented in the agency’s profile of

direct grant recipients. The states identified for participation included:

Alabama Mississippi South Carolina

Arkansas Montana South Dakota

Delaware Nebraska Tennessee

Idaho Nevada Utah

Indiana North Dakota West Virginia

Iowa Oklahoma Wyoming

Kansas Rhode Island

ArtsREACH funding supports community cultural planning or assessment, and

implementation of items within an existing cultural plan. Cultural planning

brings together local arts, business, government, and nonprofit leaders to address

problems of common concern, and to include the arts as a fundamental compoArtsLink brought Slovenian

sculptor Anamarija Smajdek (right)

to the Anderson Ranch Arts Center

in Snowmass Village, Colorado for 

a five week residency. Photo

courtesy of Anderson Ranch Arts

Center.
19 9 8 A N N UA L R E P O RT

nent of the proposed solutions. ArtsREACH encourages coalition-building between arts and nonarts partners, as ArtsREACH grants are awarded to nonprofit organizations and community agencies

that work collaboratively with other institutions.

In 1998, the Endowment received 172 ArtsREACH applications requesting $1,504,000. Grant

awards totaling $754,537 were made to 84 organizations working with more than 500 local partners. For example, the Gillette-Campbell County Airport in Wyoming will use its grant to hire a

respected local artist who will create an airport mural with selected community youth; partners

include the state Game and Fish Department, the county school district, and local utility companies. In Des Moines, Iowa, a grant to the Des Moines Playhouse will support an assessment of the

art forms of newer immigrant and refugee populations in the interest of improving cross-cultural

understanding; partners are the Iowa Arts Council, the Iowa Bureau of Refugee Services, and the

Society of Thaidam-American Friendship. Design Alabama, based in Birmingham, will partner with

the rural community of Slocomb in southeastern Alabama to apply its grant towards planning for

a new civic space for community heritage events and arts festivals.

26

With ArtsREACH support, the

Lucas Arts and Humanities

Council in Kansas presented

exhibitions at the Grassroots

Art Center featuring works by

"outsider" regional artists,

such as this untitled work in

glass and rock by Ed Root.

Photo copyright 1994 by 

Jon Blumb.
LEADERSHIP INITIATIVES 27

The Southern Arts Federation produced traveling exhibitions showcasing the traditional arts of the South, under the Folk

& Traditional Arts Infrastructure Initiative. This photo of Hystercine Rankin’s Jack in the Pulpit quilt, entitled "Hanging Out

on the Front Porch," was featured in the exhibition Crossroads Quilters. Photo copyright by Patricia Crosby for Mississippi

Cultural Crossroads.

Folk & Traditional Arts 

Infrastructure Initiative

The folk and traditional arts are abundant throughout America, but technical and

managerial support for these artistic traditions is severely limited. Folk and traditional art forms originated in the homes, families, and community rituals of

America’s numerous ethnic and religious groups, both immigrant and native. Thus

professionally staffed, nonprofit organizations that assist and present folk artistry

are few, and many folk artists are unable to bring their work to the public or to pass

on their skills to younger generations. The Folk & Traditional Arts Infrastructure

Initiative was begun in Fiscal Year 1998 with $886,000 to address this need.

The projects supported through this initiative generally fall into four categories: 1)

the creation and strengthening of professional folk arts positions within institutions; 2) field research that identifies accomplished traditional artists and offers

them support; 3) new institutional collaborations that enhance folk arts activity;

and 4) programs that broadly disseminate folk and traditional art forms, such as

touring exhibition initiatives, folk arts-in-schools projects, or statewide apprenticeship programs.
19 9 8 A N N UA L R E P O RT

The initiative benefits the folk and traditional arts nationwide. For example, the Arkansas Arts

Council received a grant to create a statewide folk arts coordinator position based in Pine Bluff at

the Arts and Science Center of Southeast Arkansas. The Iowa Arts Council will use its award to

identify accomplished traditional artists among recent refugee immigrants and organize presentations by those artists in local libraries. Through another grant, the Oregon Historical Society will

develop new folk arts programming in partnership with the Oregon Arts Commission and the

Regional Arts & Cultural Council in Portland. The South Carolina Arts Commission will use NEA

funds to launch a new statewide apprenticeship program pairing senior traditional artists with

younger apprentices.

Other Initiatives

The Arts Endowment invested $3,377,450 in other Leadership Initiatives during Fiscal

Year 1998. Among them were a number of partnerships developed with other federal

agencies and Cabinet-level departments, often creating new funding opportunities for

artists and arts organizations. Through these interagency partnerships, the Endowment

leverages its budget to better serve the American public, and reaches new constituencies by providing funds for arts programs that address issues such as downtown revitalization, economic development, and positive alternatives for youth from at-risk environments. For example, in 1998 the Endowment continued its partnership with the

Department of Agriculture’s Forest Service to offer Arts and Rural Community

Assistance grants for arts-based, rural community development projects. Thirty-six projects in 22 states and Puerto Rico received funding. Activities included the preservation

and development of Native American arts, rural downtown revitalization, arts festivals,

wood-based craft exhibitions, the creation of two plays based on local traditions, and

development of the arts within a rural heritage area. These projects demonstrate the

importance of the arts in rural economic diversification and cultural resource conservation.

Several other 1998 interagency partnerships emphasized the arts for at-risk youth in nonschool settings. An initiative developed with the Department of Justice’s Office of

Juvenile Justice and Delinquency Prevention funded arts programs for youth in juvenile

detention or youth corrections facilities. The Departments of Labor and Education

joined the NEA and Department of Justice in supporting a grant for after-school programs that integrate arts activities, job skill development, work experience, and conflict

resolution training for high school youth. With the President’s Committee on the Arts

and the Humanities, the Endowment sponsored the Coming Up Taller Awards, providing national recognition to outstanding after-school programs that support development for at-risk youth through the arts and humanities.

Working with the U.S. Department of Education, the Arts Endowment maintained a

leadership role in the Arts Education Partnership. Administered by the National

Assembly of State Arts Agencies and the Council of Chief State School Officers, the partnership is a coalition of arts, education, business, philanthropic and government organi28

The Experimental Gallery of the

Children’s Museum in Seattle

won a 1998 Coming Up Taller

award for its work with young

people in the juvenile justice

system. These self portraits

were created by some of the

participating youth. Photos by

Steve Davis for the Children’s

Museum.
LEADERSHIP INITIATIVES 29

zations that demonstrates and promotes

the essential role of arts education in

enabling all students to succeed in school,

life and work. A related Leadership project

funded by the NEA in 1998 was ArtsEdge, a

national Internet arts education resource

administered by the John F. Kennedy Center

for the Performing Arts.

The Mayors’ Institute on City Design

brings together local elected officials and

leading design and urban development

professionals to exchange ideas on the

roles of design and political leadership in

creating and revitalizing cities. Its goal is to

help cities become more livable, economically prosperous, and culturally vital. The

Institute sponsors intensive workshops at

which mayors present for discussion design challenges facing their cities. The workshops help

mayors develop innovative approaches to urban problems while exposing them to the benefits of

the design process. Since the Institute’s inception in 1986, it has assisted over 400 mayors from

each of the 50 states as well as Puerto Rico. The NEA sponsors the Institute in cooperation with the

U.S. Conference of Mayors, and in 1998 entered into an additional agreement with the American

Architectural Foundation for Institute administration.

The 1998 Institute consisted of two workshops at the University of Virginia in Charlottesville for

mayors from all parts of the country, and four regional workshops serving mayors from specific geographic areas. A total of 40 mayors from 24 states participated. Institute alumni testify to the benefits of the workshops and the importance of advocating for good design in their cities. Tangible

results from the 1998 Mayors’ Institute include a new streetscape that helped attract 78 new businesses to downtown Allentown, Pennsylvania and a series of local development workshops that

selected the optimum site for an intermodal transportation center in Fort Worth, Texas.

A former parking garage in New Bedford, Massachusetts (left) was transformed into Custom House Square (right), an attractive

plaza with a trellis walkway and small shops, using a site plan completed at the Mayors’ Institute on City Design. Photos courtesy

of the Mayor’s Office, City of New Bedford.

Explore the Yellowstone! – a traveling exhibition celebrating the cultural

heritage of the Yellowstone region – was an Arts & Rural Community

Assistance project funded in partnership with the U.S. Forest Service. Here

local residents view the exhibition at the 1998 River Fest in Billings, Montana.

Photo courtesy of the Western Heritage Center.
19 9 8 A N N UA L R E P O RT

Policy 

Research 

and Analysis

During Fiscal Year 1998, the Chairman reorganized the Office of Policy, Research &

Technology (OPRT) and renamed it the Office of Policy Research & Analysis

(OPRA). The reorganization reflects the Chairman’s emphasis on how research

and analysis affect the Endowment and the arts community in the policy and

planning process. In keeping with this emphasis, throughout 1998 OPRA continued to analyze the agency’s application and grantmaking patterns, both in the

aggregate and for new initiatives such as ArtsREACH. These analyses assist the

Chairman and the National Council on the Arts in making the policy or procedural changes necessary to ensure an equitable and diverse pool of grantees.

As part of its policy portfolio, OPRA oversees

the agency’s Civil Rights Office, which reflects

the Chairman’s commitment to equity within

the Endowment,with its grantees,and with the

cultural community in general. Working with

OPRA, the Civil Rights Office monitors and

influences policy and practices agency-wide.

Another policy priority for the Endowment is

technology, and in Fiscal Year 1998 OPRA

continued to manage Open Studio: The Arts

Online, the agency’s collaborative project with

the Benton Foundation intended to expand

cultural content on the Internet by training

artists and arts organizations in Web design.

OPRA’s Research Division conducts research and develops and disseminates information on issues affecting the various arts fields and individual artists. The

Research Division has reported national statistics on arts audiences and arts participation; financial and other information about arts organizations; and artist

employment and earnings data. In 1998, the Research Division:

• published Research Report #39, 1997 Survey of Public Participation in the Arts:

Summary Report, which describes the results of the agency’s latest national

survey of arts participation. The report examines trends in arts participation,

including geographic and demographic comparisons.

• produced a series of Research Division Notes (#62 through #68) that analyze

statistics on arts organizations derived from the Census Bureau’s quinquennial

Census of Service Industries.

30

Open Studio home page

on the World Wide Web.

Photo copyright 1999

Benton Foundation.
POLICY RESEARCH AND ANALYSIS 31

• convened a symposium with arts service organization and foundation representatives as well as researchers to

examine the results of a study assessing the state of data collection on arts

organizations. Based on symposium

recommendations, a project was

launched to create a national data

base of arts organizations.

These and related studies will continue in

Fiscal Years 1999 and 2000, giving the

Endowment a history of comparative data

on the arts in America that encompasses

nearly two decades.

Also in 1998, the Endowment’s library,

administered by the Research Division,

continued to collect and disseminate

information from various sources and

make it available to the arts community

and the public.

Researchers, artists and members of the public have

access (by appointment) to online research, journals, and

other reference materials in the NEA library. Photos by

Thomas Bickley.
19 9 8 A N N UA L R E P O RT

AccessAbility

The 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 Office makes presentations at professional conferences on the importance

and implementation of accessible arts programs. During Fiscal Year 1998, workshops and panels were presented at eight conferences including those of the

National Council on Aging in Washington, D.C.; the National Assembly of State

Arts Agencies in Cleveland; and the American Association of Museums in Los

Angeles.

On June 14-16, 1998 the Arts Endowment convened the first National Forum on

Careers in the Arts for People with Disabilities, in partnership with the U.S.

Department of Health and Human Services, Department of Education, Social

Security Administration, and John F.

Kennedy Center for the Performing Arts.

Three hundred artists, arts administrators,

rehabilitation professionals, and educators

worked together to assess the state of arts

education and career opportunities for disabled individuals in sessions that addressed

training, funding, and jobs. Participants also

identified strategies for advancing arts

careers for disabled and older citizens.

The Arts Endowment is a leader in promoting universal design, which emphasizes

environmental design features usable by

people from childhood into their oldest years. At the first-ever international universal design conference convened at New York’s Hofstra University in June 1998,

the Arts Endowment received the Universal Design Leadership Award for its “substantial and effective leadership in encouraging and assisting universal design.”

Also in Fiscal Year 1998, the Office developed a universal design initiative with the

Center for Universal Design at North Carolina State University in Raleigh. The

Center will identify, describe, and document 50 outstanding examples of universal

design — including interior, landscape, graphic, architectural, and product design.

The collection will be produced on CD-ROM and widely disseminated to the

design field to encourage greater use of this design process. Additionally, work

was begun in cooperation with the National Assembly of State Arts Agencies to

update and put online the 700-page Design for Accessibility: An Arts Administrator’s

Guide, the most comprehensive guide ever for making cultural activities accessible

to people with disabilities.

32

Dancing Wheels/Professional Flair

from Cleveland presented dance

excerpts at the 1998 National Forum

on Careers in the Arts for People with

Disabilities. Photo by Brent Alberda.
NATIONAL MEDAL OF ARTS 33

National Medal of Arts

Created by Congress in 1984, the National Medal of Arts is conferred 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. The National Endowment for the Arts solicits nominations for the award,

which 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.

During the November 5, 1998 ceremony honoring

the year’s National Medal of Arts winners,

President Clinton asked the 32 “alumni” of

Steppenwolf Theatre who were in the audience

to stand and be recognized. The fact that John

Malkovich, Laurie Metcalf, Gary Sinese, Martha

Plimpton and Jeff Perry were among them

demonstrates the significance of this nonprofit

theater, a 1998 Medalist. The complete list of

National Medalists for 1998 reads:

Jacques d’Amboise

New York, NY

Dancer, Choreographer and 

Dance Educator

Antoine “Fats” Domino

New Orleans, LA

Rock and Roll Pianist and Singer

“Ramblin’” Jack Elliott

Marshall, CA

Folk Singer and Songwriter

Frank Gehry

Santa Monica, CA

Architect

Barbara Handman

New York, NY

Arts Advocate

Agnes Martin

Taos, NM

Visual Artist

Gregory Peck

Los Angeles, CA

Actor and Producer

Roberta Peters

Scarsdale, NY

Opera Singer

Philip Roth

Cornwall Bridge, CT

Writer

Sara Lee Corporation

Chicago, IL

Arts Patron

Steppenwolf Theatre Company

Chicago, IL

Arts Organization

Gwen Verdon

Bronxville, NY

Actress and Dancer

The National Medal of Arts, designed by

internationally renowned sculptor

Robert Graham. NEA photo.

President Bill Clinton and First Lady Hillary Rodham Clinton with National

Medal of Arts winner Gwen Verdon. Photo by Neshan H. Naltchayan.
34 19 9 8 A N N UA L R E P O RT

Panelists

Arts Education

Creation & Presentation,

Planning & Stabilization, Heritage &

Preservation, Education & Access 

Sherilyn L. Brown

Director of Education Programs

Rhode Island State Council on the Arts

Providence, RI

Llewellyn M. Crain

Director of Community Programs

Los Angeles Music Center Opera

Los Angeles, CA

Gail Davitt

Manager of Docent 

& Teaching Resources

Dallas Museum of Art

Richardson, TX

Laura Lefkowits

(Layperson)

Secretary-Treasurer, Board of Directors

Colorado Association of School Boards

Denver, CO

Irene O. Lewis

Executive Director, Youth Court Center

Director, ALMA Productions

Las Cruces, NM

Dave Master

Director of Artist 

Development & Training

Warner Brothers Feature Animation

Glendale, CA

Brenda P. McCutchen

Dance Education Professor

Columbia College

Columbia, SC

Myran D. Parker-Brass

Director, Education 

& Community Programs

Boston Symphony Orchestra

Ashland, MA

Alan R. Sandler

Director of Education 

American Architectural Foundation

Washington, DC

John Taylor

Director, Foundation 

& Corporate Relations

Guilford College

Summerfield, NC

Brenda Turner

Arts Education Specialist

Arkansas Dept. of Education

Little Rock, AR

Linda Whitesitt

Music Specialist

Reeves-Edison Elementary School

Miami Beach, FL

Dance

Creation & Presentation

Jeffrey Bentley

Managing Director

Pacific Northwest Ballet

Seattle, WA

Rem Cabrera

Chief of Cultural Development

Metro-Dade Cultural Affairs Council

Miami, FL

Carolelinda Dickey

Executive Director 

Pittsburgh Dance Council

Pittsburgh, PA

The Panel Process

More than 400 private citizens reviewed grant proposals and recommended projects to be funded from the

thousands of applications received in Fiscal Year 1998 by the Endowment. Agency 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’s headquarters throughout the year, in meetings lasting several days, to

ensure thorough review of all applications. To avoid conflicts of interest, panelists do not consider applications

from organizations with which they are affiliated, and 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.
PANELISTS 35

Belinda Menchaca

Dance Program Director

Guadalupe Cultural Arts Center

San Antonio, TX

Arnecia Patterson

Executive Director

Dayton Contemporary Dance Theatre

Dayton, OH

C. Bryan Pitts

Artistic Director 

Ballet Oklahoma

Oklahoma City, OK

Cleo Parker Robinson

Artistic Director

Cleo Parker Robinson Dance Ensemble

Denver, CO

Gus Solomons

Artistic Director 

Solomons Company Dance

New York, NY

Sally Sommer

Writer, Historian, Professor

New York, NY

Suzette Surkamer

Executive Director

South Carolina Arts Commission

Columbia, SC

Sarah Wilson

(Layperson)

Co-Owner 

Market Hall Foods

Oakland, CA

Stoner Winslett

Artistic Director 

Richmond Ballet

Richmond, VA

Planning & Stabilization

Neil Barclay

Associate Director

Performing Arts Center

University of Texas at Austin

Austin, TX

Kathie Bartlett

(Layperson)

Staff Consultant

Forum for a Common Agenda

Reno, NV

Suzanne Carbonneau

Associate Professor

Institute for the Arts

George Mason University

Fairfax, VA

Charisse L. Grant

(Layperson)

Director of Programs

Dade Community Foundation

Miami, FL

Nicole Guillemet

Vice President 

Sundance Institute

Salt Lake City, UT

Michael Kaiser

Executive Director 

American Ballet Theatre

New York, NY

Gail Kalver

General Manager

Hubbard Street Dance Co.

Chicago, IL

William Whitener

Artistic Director

State Ballet of Missouri

Kansas City, MO

June Wilson

Executive Director

Minnesota Dance Alliance

Minneapolis, MN

Heritage & Preservation,

Education & Access

Roger Copeland

Professor of Theatre & Dance

Oberlin College

Oberlin, OH

Susana di Palma

Artistic Director

Zorongo Flamenco Dance Theatre

Minneapolis, MN

Christina Elbel

Executive Director

Fleishhacker Foundation

San Francisco, CA

Sondra Sugai Fair

Associate Artistic Director

Ballet West

Salt Lake City, UT

William Gleason 

(Layperson)

Director of Sales & Marketing

Commonwealth Title Insurance

Seattle, WA

Joan Gray

President 

Muntu Dance Theater

Chicago, IL

Jo Long

Executive Director

Carver Community Cultural Center

San Antonio, TX

Katherine Moore

Arts Consultant & Freelance Writer

New York, NY

Nancy Trovillion

Assistant Director

North Carolina Arts Council

Raleigh, NC

Laurie Uprichard

Executive Director

St. Mark’s Church Danspace Project

New York, NY

Design

Creation & Presentation,

Planning & Stabilization,

Heritage & Preservation,

Education & Access

Laurie Beckelman

Vice President 

World Monument Fund

New York, NY

Catherine R. Brown

Special Projects Coordinator

Design Center for 

American Urban Landscape

Minneapolis, MN
36

Panelists continued

19 9 8 A N N UA L R E P O RT

Linda K. Greene

(Layperson)

Principal

Lucas Greene Associates

Chicago, IL

Clifton Henry

(Layperson) 

Principal 

Hammer, Siler, George & Associates

Silver Spring, MD

Susan Kidd

Project Director 

Georgia Scenic Byways Project

Atlanta, GA

Ramone C. Munoz

Chair, Art Center Foundation

Art Center College of Design

Pasadena, CA

Mark Schimmenti

Associate Professor

College of Architecture & Planning

University of Tennessee

Knoxville, TN

Elizabeth K. Suneby

Consultant

Wellesley, MA

Folk & Traditional Arts

Heritage & Preservation

(Panel A), Education & Access 

Marisol Berrios-Miranda

Scholar, Educator, Performer

Seattle, WA

Troyd A. Geist

State Folklorist

North Dakota Council on the Arts

Bismarck, ND

Bess L. Hawes

Folklorist

Northridge, CA

Charlotte Heth

Assistant Director, Public Programs

National Museum 

of the American Indian

Washington, DC

Terence Liu *

Folk Arts Specialist & Musician

Public Corporation for the Arts

Long Beach, CA

Reaves F. Nahwooksy

Director 

Institute for the American Indian 

Arts Museum 

Santa Fe, NM

Beverly B. Patterson

Folklife Specialist 

North Carolina Arts Council

Chapel Hill, NC

Nathan W. Pearson

(Layperson)

Chairman 

Broadcasting Partners, Inc.

Ledyard, CT

MaryKay Penn

President 

Venzen Ross Consulting

New York, NY

David A. Taylor

Folklife Specialist 

American Folklife Center 

Library of Congress

Washington, DC

Robert T. Teske

Director 

Cedarburg Cultural Center

Cedarburg, WI

Lesley Y. Williams

Folk Arts Coordinator

South Carolina Arts Commission

Columbia, SC

Heritage & Preservation (Panel B),

Creation & Presentation 

Deborah Boykin *

Folk Arts Director

Mississippi Arts Commission

Jackson, MS

Carol Edison

Folk Arts Coordinator 

Utah Arts Council

Salt Lake City, UT

Robert Garfias

Professor of Anthropology

University of California at Irvine

Irvine, CA

Troyd A. Geist 

Folk Arts Coordinator

North Dakota Council on the Arts

Bismarck, ND

Katrina Hazzard-Donald

Associate Professor of Sociology

Rutgers University

Camden, NJ

Joyce Jackson

Associate Professor of

Ethnomusicology

Louisiana State University

Baton Rouge, LA

C. Gordon McCann *

(Layperson)

Springfield Blue Print Supply

Springfield, MO

Kathleen Mundell

Traditional Community Arts Associate

Maine Arts Commission

Blue Hill, ME

Reaves F. Nahwooksy *

Director 

Institute for the American Indian 

Arts Museum 

Santa Fe, NM
PANELISTS 37

Howard L. Sacks *

Professor of Sociology & Anthropology

Kenyon College

Gambier, OH

Catherine A. Schwoeffermann

Curator & Program Director

Roberson Museum & Science Center

Binghamton, NY

Ricardo D. Trimillos

Musician & Ethnomusicology Professor 

University of Hawaii

Honolulu, HI

Planning & Stabilization

Julia Olin

Associate Director

National Council 

for the Traditional Arts

Silver Spring, MD

John W. Suter

Executive Director 

New York Folklife Center

Newfield, NY

*Five panelists listed on panels A and B

also served on this panel.

Literature

Creation & Presentation,

Planning & Stabilization

Kimberly Adams-Heritier

Chief Operating & Technology Officer

Artserve Michigan

Detroit, MI

Lorna Dee Cervantes

Poet & Professor of English

University of Colorado

Boulder, CO

Len Edgerly

Poet & Board Member

Wyoming Arts Council

Casper, WY

Mary C. Flinn

Editor & Executive Director

New Virginia Review

Richmond, VA

Jewelle Gomez

Poet & Writer

Director, The Poetry Center 

San Francisco State University

San Francisco, CA

James Harris

Founder & Owner

Prairie Lights Bookstore

Iowa City, IA

Iris Tillman Hill

Editor, Critic and Executive Director

Center for Documentary Studies

Duke University

Chapel Hill, NC

Winter D. Prosapio

(Layperson)

Media Relations & 

Communications Consultant

Canyon Lake, TX

Bart Schneider

Writer, Co-Founder & Editor

Hungry Mind Review

St. Paul, MN

William Schwalbe

Executive Editor 

Hyperion Books

New York, NY

Cynthia Shearer

Writer & Curator

Rowan Oak 

University, MS

William Wadsworth

Poet & Executive Director

Academy of American Poets

Warren, VT

Heritage & Preservation,

Education & Access

Rafael Campo

Poet & Physician

Beth Israel Deaconess Hospital

Jamaica Plain, MA

Karen Evans

Director of Education 

Arena Stage

Washington, DC

Carolyn L. Holbrook

Founder & Executive Director

S.A.S.E: The Write Place

Minneapolis, MN

Victoria Jones

Associate Director 

Writers In the Schools

Houston, TX

Kathleen Masterson

Literature Program Director

New York State Council on the Arts

New York, NY

Alexander Ooms

(Layperson)

Management Consultant

Price Waterhouse-Coopers

Evanston, IL

Ira Silverberg

Editorial Director 

Grove Press

New York, NY

Rose Styron

Poet, Translator, Journalist

Roxbury, CT

Janie Wilson

Executive Director 

Copper Canyon Press

Port Townsend, WA

Local Arts Agencies

Creation & Presentation, Planning 

& Stabilization, Heritage &

Preservation, Education & Access

Tarabu Betserai

Consultant

Los Angeles, CA

Christopher P. Bruhl

President 

Business Council of 

Southwestern Connecticut

Fairfield, CT

Linda Caldwell

Director 

Tennessee Overhill Heritage Association

Etowah, TN
38

Panelists continued

19 9 8 A N N UA L R E P O RT

Patricia D. Crosby

Executive Director

Mississippi Cultural Crossroads

Port Gibson, MS

Charles O. DeRiemer

Board Member, Carver Community

Cultural Center

Retired Executive Director

SBC Foundation

San Antonio, TX

Suzanne Q. Finn

Executive Director

Maine Arts Sponsors Association

Augusta, ME

George Koch

Management Analyst

Dept. of Employment & Training 

U.S. Department of Labor

Washington, DC

Joyce L. Lew

(Layperson)

Arts Patron

Grosse Point Park, MI

Josephine Ramirez

Public Programs Project Associate

Getty Museum

Santa Monica, CA

Raona M. Roy

President 

Rensselaer County Council for 

the Arts: The Arts Center

Troy, NY

Media Arts

Creation & Presentation (Panel A)

Juanita B. Anderson

Independent Producer

Legacy Productions, Inc.

Roxbury, MA

Susan F. Braine

Public Radio Executive

Busby, MT

Joyce Campbell

Executive Producer, KCET

Los Angeles, CA

Richard C. Gage

Director of Communications

Illinois Arts Council

Chicago, IL

Charles B. Hobson

Film & TV Producer 

Vanguard Films

New York, NY

Julia Moore Jackson

Former Arts Administrator

Horsebreeder, Corbet Farms

Baltimore, MD

Gayle Maurin

(Layperson)

Marketing & Management Consultant

Washington, DC

Steve Robinson

Network Manager

Nebraska Public Radio Network

Lincoln, NE

Creation & Presentation (Panel B),

Planning & Stabilization 

Mary Lee Bandy

Director, Film Department

Museum of Modern Art

New York, NY

William A. Davis

(Layperson)

Attorney-at-Law

Womble, Carlyle, Sandridge & Rice

Winston-Salem, NC

Hector Galan

Independent Producer

Director

Galan Productions

Austin, TX

Louis J. Massiah

Independent Producer 

Executive Director 

Scribe Video Center 

Philadelphia, PA

Beverly Poitier-Henderson

Screenwriter & Media Arts Consultant

Roswell, GA

Morrie A. Warshawski

Media Arts Consultant & Author

St. Louis, MO

Eddie Wong

Executive Director

National Asian American 

Telecommunications Association

San Francisco, CA

Heritage & Preservation,

Education & Access (Panel A)

Albert Casciero

(Layperson)

Associate Vice President,

Learning Resources 

University of the District of Columbia

Washington, DC

Dee Davis

Director 

Appalshop Media Arts Center

Whitesburg, KY

Audrey E. Kupferberg

Archivist, Curator, Film Historian

Amsterdam, NY

Leonard Maltin

Film Historian & Critic

Los Angeles, CA

Eric Schwartz

(Layperson) 

Attorney

Washington, DC

Yolande Spears

Director, Education Programs

The Bushnell 

Hartford, CT

Milos Stehlik

Co-Founder & Director

Facets Multimedia

Chicago, IL
PANELISTS 39

Laura A. Theilen

Director 

Aspen Filmfest

Aspen, CO

Melinda Ward

Vice President 

Public Radio International

Minneapolis, MN

Heritage & Preservation,

Education & Access (Panel B)

Jeannine S. Clark

(Layperson)

Educator, Cultural 

& Community Activist

Washington, DC

Robert Gordon

General Manager

WPLN-FM

Nashville, TN

Rebecca L. Lawrence

Director

New Hampshire State Council 

on the Arts

Concord, NH

Iris Morales

Educator, Filmmaker, Attorney

Director 

New York Network for School Renewal

New York, NY

Sidney J. Palmer

Producer, Director, Conductor

Former National & Program Director

SCETV

Columbia, SC

Joan Rabinowitz

Ethnomusicologist 

& Independent Radio Producer

Executive Director

Jack Straw Productions

Seattle, WA

John Schott

Independent Producer 

& Photographer

Director, Media Studio Program

Carleton College

Northfield, MN

Multidisciplinary

Creation & Presentation 

Anthony Brown

Musician, Composer, Educator

Berkeley, CA

Annette D. Carlozzi

Curator of Contemporary 

American Art

Huntington Art Gallery

Austin, TX

Olga M. Garay

Director, Dept. of Cultural Affairs

Miami-Dade Community College

Miami, FL

Rudy A. Guglielmo

Expansion Arts Director

Arizona Commission on the Arts

Phoenix, AZ

Walter Huntley, Jr.

(Layperson)

President

Huntley & Associates

Atlanta, GA

Amy C. Lamphere

Executive Director 

Wagon Train Project

Lincoln, NE

Mark Murphy

Artistic Director

On the Boards 

Seattle, WA

Janice Weber

Concert Pianist &\and Educator

Boston, MA

M. K. Wegmann

Managing Director

Junebug Productions

New Orleans, LA 

Museums

Creation & Presentation

Theodore Celenko

Curator of African, South Pacific 

& Pre-Columbian Art

Indianapolis Museum of Art

Indianapolis, IN

Thelma Golden

Curator of American Art 

Director of Branches

Whitney Museum of American Art

New York, NY

Phillip M. Johnston

Vice President for 

Museums & Collections

Society for the Preservation of 

New England Antiquities

Boston, MA

Michael K. Komanecky

Chair, Curatorial Dept.

Phoenix Art Museum

Phoenix, AZ

Susan C. Lawhorne

(Layperson)

Board Member 

Columbus Museum of Art

Columbus, GA

Joann Moser

Senior Curator of Graphic Arts

National Museum of American Art

Washington, DC

John Orders

Independent Consultant

Los Angeles, CA

Sandra S. Phillips

Curator of Photography

San Francisco Museum of Modern Art

San Francisco, CA

Laurel J. Reuter

Director 

North Dakota Museum of Art

Grand Forks, ND

Ricardo Viera

Director & Curator, Art Galleries

LeHigh University 

Bethlehem, PA

Alma M. Williams

President 

Aura Services, Inc.

Little Rock, AR
40

Panelists continued

19 9 8 A N N UA L R E P O RT

Museums/Visual Arts

Planning & Stabilization

Barbaralee Diamonstein-Spielvogel

Author & TV Producer

Board Member 

Corcoran Gallery of Art

New York, NY

Oliver S. Franklin

(Layperson)

Senior Consultant

Schuylkill Capital Management

Philadelphia, PA

Juana Guzman

Director, Community Cultural

Development

Chicago Dept. of Cultural Affairs

Chicago, IL

William R. Neal, Jr.

Group Director,

Finance & Administration

Detroit Institute of Arts

Detroit, MI

Christina Orr-Cahall

Executive Director

Norton Museum of Art

West Palm Beach, FL

Tad L. Savinar

Visual Artist & Playwright

Portland, OR

Susan E. Strickler

Director 

Currier Gallery of Art

Manchester, NH

Emily L. Todd

Executive Director

Diverse Works Artspace

Houston, TX

Heritage & Preservation

Ricardo D. Barreto

Program Officer for Organizations

Massachusetts Cultural Council

Boston, MA

Margarita Cano

(Layperson)

Board Member

Cintas Foundation

Miami, FL

Phillip D. Cate

Director, Zimmerli Art Museum

Rutgers University

New Brunswick, NJ

Barbara Heller

Head Conservator

Detroit Institute of the Arts

Detroit, MI

Joseph Lewis

Chair, Dept. of Art

California State University

at Northridge

Northridge, CA

Elizabeth W. Millard

Executive Director

Forum for Contemporary Art

St. Louis, MO

Joyce Szabo

Associate Chair, Dept. of Art

University of New Mexico

Albuquerque, NM

Catherine H. Voorsanger

Associate Curator,

American Decorative Arts

Metropolitan Museum of Art

New York, NY

Thomas Wilson

Director, Museums

Beloit College

Beloit, WI

Education & Access

Claudia A. Barker

Fundraising Consultant

New Orleans, LA

Carol Becker

Dean of Faculty & Vice President 

for Academic Affairs

School of the Art Institute of Chicago

Chicago, IL

Victor L. Davson

Executive Director

Aljira, Inc.

Neward, NJ

Peter H. Hassrick

Director 

Georgia O’Keeffe Museum

Santa Fe, NM

Kimberly S. Kanatani

Director of Education

Museum of Contemporary Art

Los Angeles, CA

Lyndel King

Director 

Frederick R. Weisman Art Museum

Minneapolis, MN

Ann McQueen

Project Coordinator 

Boston Foundation

Boston, MA

Danny Tisdale

Visual Artist

Compton, CA

Francis G. Whitebird

(Layperson)

Language Specialist 

& Computer Programmer

Pierre, SD
PANELISTS 41

Music 

Creation & Presentation (Panel A)

David Balakrishnan

Violinist & Composer

Turtle Island String Quartet

Albany, CA

Sheila Balboni

Board Member 

New England Foundation for the Arts

& Massachusetts Cultural Council

Lawrence, MA

Jack G. Cohan

Performing Arts Presenter

Greenville, SC

David J. Dzubay

Composer & Assistant Professor 

of Music

Director, New Music Ensemble

Indiana University

Bloomington, IN

Emily Ellsworth

Music Director & Conductor

Glenn Ellyn Children’s Chorus

Wheaton, IL

Miguel Harth-Bedoya

Music Director & Conductor

Eugene Symphony Orchestra 

& New York Youth Symphony 

Eugene, OR

Willie L. Hill, Jr.

Jazz Artist, Associate Professor of 

Music Education & Assistant Dean 

College of Music

University of Colorado at Boulder

Denver, CO

Richard R. Hoffert

Executive Director 

North Carolina Symphony

Raleigh, NC

Apo Hsu

Music Director & Conductor

Springfield Symphony Orchestra 

& Women’s Philharmonic

Springfield, MO

Juanita W. Jackson

(Layperson)

President, Women’s Committee

National Symphony Orchestra

Vienna, VA

Joseph H. Kluger

President & CEO

Philadelphia Orchestra Association

Philadelphia, PA

Jorge Mester

Music Director & Conductor

Pasadena Symphony Orchestra

Pasadena, CA

Sharon Paul

Artistic Director

San Francisco Girls Chorus

San Francisco, CA

Allison B. Vulgamore

Executive Director

Atlanta Symphony Orchestra

Atlanta, GA

Creation & Presentation (Panel B)

Bette Y. Cox

Music Educator, Musicologist

President & Founder

BEEM Foundation

Los Angeles, CA

Catherine C. French

Arts Consultant

Past President & CEO

American Symphony 

Orchestra League

Washington, DC

Nancy K. Harman

Consultant 

Jacksonville Symphony

Jacksonville, FL

Raymond C. Harvey

Music Director & Conductor

Fresno Philharmonic

Fresno, CA

Cornelia Heard

Violinist 

Blair String Quartet

Nashville, TN

Joseph A. Johnson III

Professor of Science & Engineering;

Director, NASA/FAMU Research Center

for Nonlinear & Nonequilibrium

Aeroscience & FAMU Laboratory for

Modern Fluid Physics

Tallahassee, FL

Annabelle C. Kressman

(Layperson)

Chair 

Delaware Division of the Arts

Wilmington, DE

Richard P. Martin

Director 

McCain Auditorium

Kansas State University

Manhattan, KS

Rhonda Rider

Cellist 

Member of Lydian Quartet,

Brandeis University and 

Boston Conservatory Faculties 

Waltham, MA

Murry Sidlin

Resident Conductor &

Director, Conducting Studies

Aspen Music Festival

Aspen, CO

Frederick C. Tillis

Director, Fine Arts Center 

University of Massachusetts 

at Amherst

Amherst, MA

Gideon Toeplitz

Executive Vice President 

& Managing Director

Pittsburgh Symphony 

Pittsburgh, PA

Catherine L. Weiskel

Executive Director 

Greater Boston Youth Symphony

Orchestras

West Haven, CT

Music/Opera

Planning & Stabilization

Brent Assink

President & Managing Director

St. Paul Chamber Orchestra

St. Paul, MN

Vicki Benson

Program Officer 

Jerome Foundation

St. Paul, MN
42

Panelists continued

19 9 8 A N N UA L R E P O RT

David DiChiera

General Director,

Michigan Opera Theatre 

Artistic Director, Opera Pacific

Detroit, MI

M. Christine Dwyer

(Layperson)

Senior Vice President

RMC Research Corp.

Board Member, New England

Foundation for the Arts

Portsmouth, NH

Robert C. Jones

President 

Indiana State Symphony Society

Indianapolis, IN

Frank D. Kistler

General Director 

Nevada Opera

Reno, NV

Evy Lucio

Artistic Director 

San Juan Children’s Choir

San Juan, PR

Shoko K. Sevart

Attorney 

Sevart & Sevart

Board Member, Witchita Center 

for the Arts and Opera Kansas 

& Witchita Chamber Chorale

Wichita, KS

Catherine Wichterman

Performing Arts Program Officer

Andrew W. Mellon Foundation

New York, NY

Heritage & Preservation,

Education & Access

Ryan Brown

Violinist & Founding Member

Four Nations Ensemble

Washington, DC

Deborah Rutter Card

Executive Director 

Seattle Symphony

Seattle, WA

Mary Hall Deissler

Executive Director 

Handel & Haydn Society

Boston, MA

Adam S. Eisenberg

Director, Education & Outreach

San Diego Opera

San Diego, CA

D. Antoinette Handy

Flutist & Author

Former Music Program Director

National Endowment for the Arts

Jackson, MS

Amy Iwano

Executive Director 

Chicago Chamber Musicians

Chicago, IL

Joan G. Lounsbery

Managing Director 

Skylight Opera Theatre

Milwaukee, WI

Joseph McClain

General Director 

Austin Lyric Opera

Austin, TX

David Myers

Associate Professor & 

Associate Director, School of Music

Georgia State University

Atlanta, GA

Rosalin Pabon

Associate Music Director 

Puerto Rico Symphony Orchestra

Hato Rey, PR

Frank D. Rich

(Layperson)

President

Stamford Center for the Arts

Principal 

J.D. Rich Co.

Stamford, CT

Dwight D. Walth

Community Arts Development

Coordinator

Phoenix Arts Commission

Mesa, AZ

Nancy Washington

Assistant to the Chancellor 

Associate Professor,

Education and Psychology

University of Pittsburgh

Pittsburgh, PA

Bobby Watson

Saxophonist & Composer

New York, NY

Musical Theater/Theater 

Creation & Presentation (Panel A)

Jessica L. Andrews

Managing Director 

Arizona Theater Co.

Tuscon, AZ

Delbert W Hamilton

Artistic Director 

Seven Stages

Atlanta, GA

Ruth E. Higgins

Producer 

New Tuners Theatre

Chicago, IL

Mary Kelley

Executive Director

Massachusetts Cultural Council

Boston, MA
PANELISTS 43

Ron Nakahara

Actor & Director 

Artistic Director

Pan Asian Repertory Theater

Jersey City, NJ

Jose E. Rivera

Playwright

Los Angeles, CA

Rosalba Rolon

Artistic Director 

Pregones Theater

New York, NY

Sam Sweet

Managing Director

Shakespeare Theater

Washington, DC

Zannie G. Voss

Managing & Assistant Director

Drama Program

Duke University 

Durham, NC

Ron Willis

Professor of Theater & Film

Technology Specialist

University of Kansas

Lawrence, KS

Libby Zerner

(Layperson)

Trustee

Portland Stage Co.

Portland, ME

Creation & Presentation (Panel B)

Janet L. Allen

Artistic Director 

Indiana Repertory Theatre

Indianapolis, IN

Rafael Lopez Barrantes

Co-Artistic Director

Archipelago

Carrboro, NC

Peter W. Culman

Managing Director 

Center Stage

Baltimore, MD

Joseph Hanreddy

Artistic Director

Milwaukee Repertory Theater

Milwaukee, WI

Angela L. Johnson

Director of Cultural Arts

City of Oakland

Oakland, CA

Margot H. Knight

Consultant & 

Former Executive Director

Idaho Commission on the Arts

Boise, ID

Benjamin Moore

Managing Director

Seattle Repertory Theatre

Seattle, WA

Michael Robins

Executive Producing Director

Illusion Theater

Minneapolis, MN

Howard I. Shalwitz

Artistic Director

Woolly Mammoth Theatre Co.

Washington, DC

Craig Watson

(Layperson)

Public Relations 

& Marketing Consultant 

Writer & Trustee

Jamestown, RI

Planning & Stabilization

Steve Albert

Managing Director

Hartford Stage Co.

Hartford, CT

Henry Godinez

Theater Director

Chicago, IL

Gabriele Gossner

(Layperson)

Director, Development 

& External Affairs

Laurel School

Shaker Heights, OH

Michael Maggio

Associate Artistic Director

Goodman Theatre

Chicago, IL

Dian L. Magie

Executive Director

Tucson-Pima Arts Council

Tucson, AZ

Victoria H. Nolan

Managing Director

Yale Repertory Theatre

Yale University

New Haven, CT

Patricia White

Company Manager

New Federal Theatre

New York, NY

Heritage & Preservation,

Education & Access

Jeff Church

Producing Artistic Director 

Coterie Theater

Kansas City, MO

Wayne D. Cook

Program Administrator

Artist-in-Residence 

ADA Coordinator

California Arts Council

Sacramento, CA

Daniel Fallon

Managing Director

Milwaukee Repertory Theatre

Milwaukee, WI

Robb Hunt

Executive Producer 

Village Theatre

Issaquah, WA

Susan E. Kerner

Resident Director 

George Street Playhouse

New Brunswick, NJ

Martha Lavey

Artistic Director

Steppenwolf Theatre Co.

Chicago, IL

Susan L. Medak

Managing Director

Berkeley Repertory Theatre

Berkeley, CA

Eugene Nesmith

Assistant Professor of Theatre 

& English Director,

Langston Hughes Festival

City College of New York

New York, NY
44

Panelists continued

19 9 8 A N N UA L R E P O RT

Daniel E. Renner

Director of Education

Denver Center Theater Co.

Denver, CO

Christina Ripple

(Layperson)

Board Member

Hartford Stage Co.

Hartford, CT.

Mario E. Sanchez

Founder & Producing Artistic Director

Teatro Avante

Miami, FL

Suzanne M. Sato

Vice President for Arts & Culture

AT&T Foundation

New York, NY

Opera

Creation & Presentation

Alexander L. Aldrich

Executive Director

Vermont Arts Council

Montpelier, VT

Alicia G. Clark

Arts Patron, Founder & Chairman

Hispanics for Los Angeles Opera

San Marino, CA

Michael Harrison

General Director 

Baltimore Opera

Baltimore, MD

Robert M. Heuer

General Manager & CEO 

Florida Grand Opera

Miami, FL

John L. McClaugherty

(Layperson)

Arts Patron 

Attorney 

Jackson & Kelly 

Charleston, WV

George I. Shirley

Tenor & Professor of Music

University of Michigan 

Ann Arbor, MI

Ann M. Stanke

General Director 

Madison Opera

Madison, WI

Conrad Susa

Composer

San Francisco, CA

Presenting

Creation & Presentation, Planning 

& Stabilization,Heritage &

Preservation, Education & Access

Libby L. Chiu

Director of Institutional Advancement

Boston Conservatory

Robbery, MA

Robert G. Cogswell

Director of Folk Arts

Tennessee Arts Commission

Nashville, TN

Wallace I. Edgecombe

Director 

Hostos Center for the Arts & Culture

New York, NY

Thomas J. Iovanne

Executive Director

Washington Center for 

the Performing Arts

Olympia, WA

Terrence D. Jones

President & CEO

Wolf Trap Foundation for 

the Performing Arts

Vienna, VA

Beth Kanter

Technology Specialist 

& Arts Administrator

Norfolk, MA

Gerald Martinez

Coordinator 

State of New Mexico Arts Division

Santa Fe, NM

Herman J. Milligan, Jr.

(Layperson)

Senior Marketing Research Analyst

Norwest Corp.

Minneapolis, MN

Jon Spelman

Solo Performer & Storyteller

Silver Spring, MD

Caron H. Thorton

Director of Development

Knoxville Museum of Art

Knoxville, TN

Romalyn A. Tilghman

Arts Consultant, Lecturer, Writer

Editor, ARTS RAG

Long Beach, CA

Visual Arts

Creation & Presentation

Houston Conwill

Visual Artist

New York, NY

Mary Gayle Corley

(Layperson)

Attorney-at-Law

Friday, Eldredge & Clark

Little Rock, AR

Stephen Fleming

Director, Artist-in-Residence Program

Roswell Museum & Art Center

Roswell, NM

Glenn A. Harper

Editor 

Sculpture Magazine

Washington, DC
PANELISTS 45

Leonard Hunter

Professor of Art

San Francisco State University

San Francisco, CA

John P. Jacob

Executive Director

Photographic Resource Center

Boston University

Boston, MA

Charlotte Moser

Director of Development

Association of Science-Technology

Centers

Washington, DC

Lydia S.Yee

Curator 

Bronx Museum of the Arts

Bronx, NY

American Jazz Masters

Fellowships

Muhal Richard Abrams

Pianist & Composer

New York, NY

David Baker

Chairman, Jazz Dept.

Indiana University 

School of Music

Bloomington, IN

Jon Faddis

Music Director & Artistic Director

Carnegie Hall Jazz Orchestra

Teaneck, NJ

Jacqueline Harris

Executive Director

Music & Entertainment 

Commission of New Orleans

New Orleans, LA

Steve J. Loza

Associate Professor of

Ethnomusicology

University of California at Los Angeles

Los Angeles, CA

Amy McCombs

(Layperson)

President & CEO

KRON-TV

San Francisco, CA

Jimmy Owens

Trumpeter, Flugel Horn Player,

Composer, Jazz Artist

New York, NY

Ellen Rowe

Head of Jazz Studies

University of Michigan

Ann Arbor, MI

Billy Taylor

Performer & Composer

Billy Taylor Productions

Riverdale, NY

Frederick C. Tillis

Director, Fine Arts Center

University of Massachusetts 

at Amherst

Amherst, MA

Literature Fellowships

Ron F. Carlson

Writer & Playwright

Professor of English

Arizona State University

Scottsdale, AZ

Ana Castillo

Writer, Essayist, Poet, Editor

Chicago, IL

Alan Cheuse

Writer, Essayist, Critic

Washington, DC

Dennis Covington

Writer, Essayist, Playwright

Birmingham, AL

Albert French

Writer, Essayist

Pittsburgh, PA

Judith Guest

Writer, Essayist, Screenwriter

Edina, MN

Janet Campbell Hale

Writer, Essayist, Poet

Tensed, ID

Lisa N. Howorth

(Layperson)

Co-Owner & Manager 

Square Books

Oxford, MS

Terry McMillan

Writer, Editor, Screenwriter

Danville, CA

Howard Norman

Writer & Translator

East Calais, VT

Valerie Sayers

Writer & Critic

South Bend, IN

Lynne Sharon Schwartz

Writer, Essayist, Translator

New York, NY

National Heritage

Fellowships

Marisol Berrios-Miranda

Ethnomusicologist & Musician

Seattle, WA

Hal Cannon

Artistic Director

Western Folklife Center

Elko, NV

Patricia A. Jasper

Director 

Texas Folklife Resources

Austin, TX

Geraldine Johnson

(Layperson)

Owner, Founder & President

Traditional American Foods, Inc.

Washington, DC

James R. Leary

Folklorist & Faculty Associate

University of Wisconsin 

Folklore Program

Mount Horeb, WI
46

Panelists continued

19 9 8 A N N UA L R E P O RT

Terence Liu

Folk Arts Specialist

Public Corporation for the Arts

Long Beach, CA

Kathleen Mundell

Traditional & Community 

Arts Associate

Maine Arts Commission

Blue Hill, ME

Reaves F. Nahwooksy

Director 

Institute of American Indian 

Arts Museum 

Santa Fe, NM

Steven J. Ohrn

Historic Sites Manager

State Historical Society of Iowa

Des Moines, IA

Jacquelin C. Peters

Program Specialist

100 Black Men of Greater Charlotte

Charlotte, NC

Nicholas R. Spitzer

Artistic Director 

Folk Masters

New Orleans, LA

Steven Zeitlin

Executive Director 

City Lore

New York, NY

Regional Partnership

Agreements

R. Christopher Abele

(Layperson)

Attorney 

Badger & Levings

Kansas City, MO

Ruth A. Brennan

Executive Director

Rapid City Arts Council

Rapid City, SD

Alejandrina Drew

Director, Art Resources Dept.

City of El Paso

El Paso, TX

Bernard Lopez

Arts Management Consultant

Tesuque, NM

John E. Ostrout

Executive Director

Connecticut Commission on the Arts

Hartford, CT

Regina R. Smith

Director, Programs & Services

Culture Works

Dayton, OH

State Partnership

Agreements

Peggy A. Amsterdam

Acting Director

Delaware Division of Arts

Wilmington, DE

Julie M. Bailey 

Director of Partnership Programs

Iowa Arts Council

Des Moines, IA

Wendy E. Bredehoft

Program Manager, Arts in Education

Wyoming Arts Council

Cheyenne, WY

Lakin R. Cook

Director, Educational Programs

West Virginia Center for Arts

& Sciences

Charleston, WV

James Fatata 

(Layperson)

Principal 

Charles R. Bugg Creative Arts 

& Science Magnet School

Raleigh, NC

Kenneth May

Assistant Deputy Director

South Carolina Arts Commission

Columbia, SC

John L. Moore III 

Executive Director

African Continuum Theatre Coalition

Washington, DC

Patty Ortiz

Program Director

Young Audiences of Colorado

Denver, CO

Margie J. Reese 

Director of Cultural Affairs

City of Dallas

Dallas, TX

Rose Reyes

Folk Arts Coordinator

Texas Folklife Resources

Austin, TX

Sally M. Sand 

Arts Education Program Associate

Minnesota State Arts Board

St. Paul, MN

Jennifer A. Severin-Clark

Executive Director

Nebraska Arts Council

Omaha, NE

William J. Smyth 

State Folklorist

Washington State Arts Commission

Olympia, WA

James L. Tucker, Jr.

Chief, Arts & Humanities Section

Maryland Dept. of Education

Baltimore, MD

Artists & Communities

John Paul Batiste

Executive Director

Texas Commission on the Arts

Austin, TX
PANELISTS 47

Bonnie L. Bernholz

(Layperson)

Partner

Bernholz & Graham Public Relations

Anchorage, AK

Susan D. Bonaiuto

Grants Coordinator

Needham Public Schools

Needham, MA

Lonny M. Kaneko

Professor of Writing & Literature

Highline College

Vashon, WA

Ree Schonlau

Executive Director

Bemis Center for Contemporary Arts

Omaha, NE

ArtsEdge

Doug Bauer

Culture Program Officer 

Pew Charitable Trusts

Philadelphia, PA

Steve A. Fisher

Social Studies Teacher

Page Middle School 

Williamson County Schools

Franklin, TN

Gary Gibbs

Education Director

Houston Grand Opera

Houston, TX

Mac A. Goodwin

(Layperson)

Education Associate

South Carolina Dept.of Education

Columbia, SC

Susan McGreevy-Nichols

Director of Dance

Williams Middle School

Coventry, RI

Alan R. Sandler

Director of Education

American Architectural Foundation

Washington, DC

ArtsREACH

Rebecca A. Anderson

Executive Director

HandMade in America

Asheville, NC

Tarabu Betserai

Consultant

Los Angeles, CA

Richard Huff

Executive Director 

Irving Arts Center

Irving, TX

Robin Kaye

Partner

Dewey & Kaye, Inc.

Pittsburgh, PA

Greicy Lovin-Meighan

Cultural Liaison 

City of Miami

Miami Shores, FL

James J. Lysen

(Layperson)

Planning Director 

City of Lewiston

Lewiston, ME

Jane Ann McCullough

Grants Coordinator

Metropolitan Nashville Arts

Commission

Nashville, TN

Everett G. Powers

President & COO

Arts Partnership of 

Greater Spartanburg

Spartanburg, SC

Juliana Sciolla

Consulting Managing Director

Stamford Cultural Development Corp.

Stamford, CT

Preston Thomas

Director of Business Development

Native American Public

Telecommunications

Lincoln, NE

Thomas L. Turk

Executive Director

Metropolitan Nashville 

Arts Commission

Nashville, TN

Marete Wester

Executive Director

Alliance for Arts Education, New Jersey

Bloomfield, NJ

Continental Harmony

Stephanie Ancona

Manager of Creation & Presentation

New England Foundation for the Arts

Boston, MA

Carole C. Birkhead

(Layperson)

Arts Volunteer & Board Member

Louisville, KY

Colleen Jennings-Roggensack

Executive Director, Public Events

Arizona State University

Tempe, AZ

Favorite Poem Project

Rosemary Catacalos

Executive Director, The Poetry Center

American Poetry Archives

Palo Alto, CA

Elliot Figman

Executive Director

Poets & Writers, Inc.

New York, NY

Billy Shore

(Layperson)

Executive Director

Share Our Strength

Washington, DC

Folk & Traditional Arts

Infrastructure Initiative

Helen Hubbard-Marr

(Layperson)

Vice President

Frog City, Inc.

Cos Cob, CT

Dorothy S. Lee

Rector

St. Paul’s Episcopal Church

Indianapolis, IN
48

Panelists continued

19 9 8 A N N UA L R E P O RT

Richard A. March

Folk Arts Specialist

Wisconsin Arts Board

Madison, WI

Lynn Martin

Traditional Arts Coordinator

New Hampshire State Council 

on the Arts

Concord, NH

Hiromi L. Sakata

Professor & Associate Dean

School of Arts & Architecture

University of California at Los Angeles

Los Angeles, CA

Gary W. Stanton

Associate Professor of 

Historic Preservation

Mary Washington College

Fredericksburg, VA

John W. Suter

Director

New York Folklore Society

Newfield, NY

Mayors’ Institute 

on City Design

Thomas L. McClimon

Managing Director

U.S. Conference of Mayors

Washington, DC

Anthony J. Radich

Executive Director

Missouri Arts Council

St. Louis, MO

Genevieve H. Ray

Principal 

Urban Conservation & Design

Cleveland Heights, OH

Harriet Sanford

Director

Fulton County Dept. of Art & Culture

Atlanta, GA

Donna Shaw

(Layperson)

Director 

Illinois Bureau of Tourism

Chicago, IL

Millennium Television

Series

Karen L. Bryan

(Layperson)

Vice President, Minerals 

& Legal Services

P.E. LaMoreaux & Associates

Tuscaloosa, AL

Mable J. Haddock

Executive Director

National Black Programming

Consortium

Columbus, OH

Jill Janows

Executive Producer

WGBH Educational Foundation

Boston, MA

George Miles

President & CEO

WQED Pittsburgh

Pittsburgh, PA

SOS ! 2000

Bruce Christman

Chief Conservator

Cleveland Museum of Art

Cleveland, OH

Barbara Goldstein

Public Art Program Manager

Seattle Arts Commission

Seattle, WA

Elizabeth Rhea

(Layperson)

Former Mayor

City of Rock Hill

Rock Hill, SC
John Steinbeck’s powerful

Depression-era story Of Mice

and Men was produced by

South Coast Repertory in

Costa Mesa, California as 

part of its annual American

Classics Series. Photo by 

Ken Howard.

19 9 8 A N N UA L R E P O RT 49 49
50

Financial Summary

19 9 8 A N N UA L R E P O RT

Summary of Funds Available 1 Fiscal Year 1998

Program & State Grant Funds 2 $64,260,000

Matching Grant Funds (3:1 match) 16,760,000

________________________________________________________________________________________

Total Federal Appropriations $81,020,000

Nonfederal Gifts 3 $164,310 

Interagency Transfers 3 425,000

Unobligated Balance, Prior Year 3 3,650,308

________________________________________________________________________________________

Total Funds Available $85,259,618

1 Excludes administrative operating and computer replacement funds.

2 The FY 98 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 $1,785,860.

Funds Obligated Fiscal Year 1998

Grants to Organizations

Creation & Presentation $17,212,474

Education & Access 9,279,000

Heritage & Preservation 4,155,400

Planning & Stabilization 8,002,799

Grants to Individuals

Literature Fellowships 4 705,000

American Jazz Masters Fellowships 60,000

National Heritage Fellowships 110,000

Partnership Agreements 5 33,425,518

Leadership Initiatives 

Millennium Projects 3,613,000 

International Exchanges 465,000

ArtsREACH 754,537

Folk & Traditional Arts Infrastructure Initiative 886,000

Other Initiatives 3,377,450

Policy Research & Analysis 100,000

AccessAbility 115,000

________________________________________________________________________________________

Total Funds Obligated 6 $82,261,178

4 Includes a $65,000 cooperative agreement with Poets & Writers, Inc. for application manuscript review.

5 Includes four awards to the National Assembly of State Arts Agencies for activities providing services to the field.

6 Program obligations reflect FY 1998 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.
APPROPRIATIONS HISTORY

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

*In 1996, the Federal government changed the beginning of the fiscal year from 

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

51

Appropriations History

Fiscal Years 1966-1998 
52

Credits

19 9 8 A N N UA L R E P O RT

1998 Annual Report published by:

National Endowment for the Arts

Office of Communications

Cherie Simon, Director

Katherine L. Wood, Managing Editor

Kim E. Kelley, Editor

With thanks to the staff for their assistance.

Designed by:

J. Andrew Simmons,

Simmons Design

Arlington, Virginia

Cover photos, left to right:

1. The apprenticeship program at Augusta Heritage Center at Davis & Elkins College in Elkins, West Virginia pairs expert folk and traditional

artists with the next generation of practitioners. Pictured is banjomaker Andy Boarman. Photo by Gerry Milnes.

2. Principal dancers of the Pennsylvania Ballet in Philadelphia in a performance of Sfrenato, a newly commissioned work by choreographer

Matthew Neenan. Photo copyright Paul Kolnik.

3. Art teacher Mary Giandalone and artist-in-residence Judy Coffman work with students at Parker Elementary School in Martin County,

through an arts education program of the Florida Division of Cultural Affairs. Photo courtesy of Martin County Council for the Arts.

Contents Page photos, top to bottom:

1. The Dallas Opera’s 1998 production of Handel’s Ariodante. Photo by George Landis.

2. Museum visitors enjoy the exhibition Monet & Bazille: A Collaboration at the High Museum of Art in Atlanta. Photo by Mike Jensen.

3. National Heritage Fellow Sophie George, Yakama-Colville beadworker whose craftsmanship is a model for the recent revival of Native

American beadwork. Photo by Evan Schneider; courtesy of the Oregon Historical Society Folklife Program.

4. The Coro de Ninos de San Juan in Puerto Rico presented holiday concerts in San Juan and five rural villages. Here the choir shares a

musical moment in the mountain town of Utuado. Photo courtesy of Coro de Ninos de San Juan.

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: //arts.endow.gov.