I 
118TH CONGRESS 
2D SESSION 
H. R. 6935 
To direct the Secretary of Labor, in consultation with the Chairperson of 
the National Endowment for the Arts, to award grants for arts and 
creative workforce programs. 
IN THE HOUSE OF REPRESENTATIVES 
JANUARY 10, 2024 
Ms. LEGER FERNANDEZ (for herself, Mr. OBERNOLTE, Mr. LIEU, and Ms. 
PINGREE) introduced the following bill; which was referred to the Com-
mittee on Education and the Workforce 
A BILL 
To direct the Secretary of Labor, in consultation with the 
Chairperson of the National Endowment for the Arts, 
to award grants for arts and creative workforce pro-
grams. 
Be it enacted by the Senate and House of Representa-
tives of the United States of America in Congress assembled, 
SECTION 1. SHORT TITLE. 
This Act may be cited as the ‘‘Creative Workforce 
Investment Act’’. 
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SEC. 2. NATIONAL GRANTS FOR ARTS AND CREATIVE 
WORKFORCE PROGRAMS. 
Subtitle D of title I of the Workforce Innovation and 
Opportunity Act (29 U.S.C. 3221 et seq.) is amended— 
(1) by redesignating section 172 (29 U.S.C. 
3227) as section 173; and 
(2) by inserting after section 171 (29 U.S.C. 
3226) the following: 
‘‘SEC. 172. NATIONAL GRANTS FOR ARTS AND CREATIVE 
WORKFORCE PROGRAMS. 
‘‘(a) PROGRAM AUTHORIZED.—From the amounts 
appropriated under subsection (f), the Secretary, in con-
sultation with the Chairperson of the National Endow-
ment for the Arts, shall award grants, on a competitive 
basis, to eligible entities to carry out the arts and creative 
workforce programs described in subsection (c)(1). 
‘‘(b) APPLICATION.—To be eligible to receive a grant 
under this section, an eligible entity shall submit to the 
Secretary and the Chairperson an application at such 
time, in such manner, and containing such information as 
the Secretary and the Chairperson may require, which 
shall include— 
‘‘(1) a description of the arts and creative 
workforce program the eligible entity plans to carry 
out with the grant, including— 
‘‘(A) cost estimates; 
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‘‘(B) timelines; 
‘‘(C) a description of the final product and 
how such product will be made accessible to the 
public; 
‘‘(D) the proposed number of employees 
the program will employ, including a description 
of the creative workers the program will em-
ploy; 
‘‘(E) the number of such proposed employ-
ees who have barriers to employment and a de-
scription of such barriers; and 
‘‘(F) whether the eligible entity will be 
working in coordination with a State board or 
a local board to employ individuals under the 
program, and a description of such coordina-
tion; and 
‘‘(2) a good-faith certification that— 
‘‘(A) during the grant period and during 
the 2-year period beginning after the such 
grant period— 
‘‘(i) the eligible entity will not 
outsource or offshore jobs for the arts and 
creative workforce program carried out 
with the grant; and 
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‘‘(ii) the eligible entity will not abro-
gate existing collective bargaining agree-
ments of employees of such program; 
‘‘(B) the eligible entity will remain neutral 
in any union organizing effort by the employees 
of such program during the grant period; and 
‘‘(C) in carrying out such program, the eli-
gible entity will comply with the wage and safe-
ty standards described in subsections (m) and 
(n) of section 5 of the National Foundation on 
the Arts and the Humanities Act of 1965 (20 
U.S.C. 954). 
‘‘(c) USES OF FUNDS.— 
‘‘(1) ARTS
AND
CREATIVE
WORKFORCE
PRO-
GRAMS.—An eligible entity that receives a grant 
under this section shall use such grant to carry out 
an arts and creative workforce program that— 
‘‘(A) shall— 
‘‘(i) provide art or arts programming 
that is made publicly available and acces-
sible to other individuals by the eligible en-
tity; and 
‘‘(ii) employ individuals in the labor 
market area served by the eligible entity, 
which may include the use of such grant to 
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cover the cost of wages for such individ-
uals; and 
‘‘(B) may include— 
‘‘(i) outdoor events for the community 
(such as concerts, street fairs, art fairs, 
community arts events, performances, live 
music, or other arts-based activities); 
‘‘(ii) interviews and written stories 
that capture and document the history of 
the United States— 
‘‘(I) through photographs, nar-
ratives, storytelling, murals, films, 
plays, and other media; and 
‘‘(II) 
that 
illuminate 
marginalized narratives and histories 
of all individuals, regardless of in-
come, age, race, religion, legal status, 
sexual orientation, or gender identity; 
‘‘(iii) temporary or permanent visual, 
literary, or performative public artworks 
celebrating community identity, such as— 
‘‘(I) 2- and 3-dimensional visual 
artworks such as murals, painted 
benches, sculptures, and statues; 
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