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Relevant bibliographies by topics / National Endowment for the Arts (NEA)

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Academic literature on the topic 'National Endowment for the Arts (NEA)'

Author: Grafiati

Published: 20 April 2024

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Journal articles on the topic "National Endowment for the Arts (NEA)"

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Wilbur, Sarah. "Does the NEA Need Saving?" TDR/The Drama Review 61, no. 4 (December 2017): 96–106. http://dx.doi.org/10.1162/dram_a_00694.

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What are the stakes in saving the NEA, today? Departing from the recent legislative back-and-forth between President Donald Trump and Congress over the budgetary future of the National Endowment for the Arts (NEA), this performance analysis of the NEA’s 31 March 2017 meeting of the National Council on the Arts reveals the complex political posturing that undergirds federal support for the arts in US culture.

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Markusen, Ann, and Anne Gadwa Nicodemus. "Arts and The City: Policy and Its Implementation." Built Environment 46, no. 2 (May 14, 2020): 22–38. http://dx.doi.org/10.2148/benv.46.2.182.

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The United States off ers a decade-long illustration of the implementation of a major policy initiative for art and culture across the nation's cities and towns. In this article, we focus on the National Endowment for the Arts (NEA), and its companion ArtPlace and Our Town initiative around place-making, as they have developed since 2009. We describe the challenges that almost eliminated the NEA in the 1990s, the subsequent advocacy shift towards the economic impact of the arts, and the emergence of the Our Town initiative in 2011. We analyse the policy initiatives, their rationales and implementation. We conclude with lessons and ways to improve practice in relation to the roles of artists and arts organizations covering issues of displacement, gentrification and racism (often unanticipated challenges for communities and funders); the impact of the arts in economic terms; and evaluative challenges for funders and place-makers, especially given cultural diversity and 'place-keeping' priorities.

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Resing, Mary C. "Source Theatre Company and the Mandate of the NEA: a Case Study." New Theatre Quarterly 11, no. 42 (May 1995): 128–34. http://dx.doi.org/10.1017/s0266464x00001147.

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The controversy in the United States surrounding the funding of ‘offensive‐ and ‘pornographic‐ works by the National Endowment of the Arts (NEA) has centered on whether or not the organization should espouse a morally conservative outlook in regard to the public funding of artistic works. However, the NEA arguably already pursues conservative policies rooted in its vision of the form, function, and outlook of the arts it exists to serve. The appointment of the actress Jane Alexander as chair of the NEA may have indicated that the organization would become more liberal in its moral stance, but the question remains: can government-supported art be anything but conservative? The following is a case study of one theatre's relationship to the NEA in the context of the Washington, DC, theatre community. The author, Mary C. Resing, is a former business manager of New Playwrights' Theatre in Washington, DC, and a former grant writer at the University of North Carolina at Chapel Hill. She is currently working on her dissertation on the actress-manager Vera Kommissarzhevskaia.

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Dillon, Deborah R., David G. O’Brien, and Kristen Nichols-Besel. "Motivating Boys to Read: Guys Read, a Summer Library Reading Program for Boys." Children and Libraries 15, no. 2 (June 15, 2017): 3. http://dx.doi.org/10.5860/cal.15n2.03.

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A 2013 National Endowment for the Arts (NEA) report, How a Nation Engages with Art, illustrates that voluntary “literary” reading rates of adults have fallen1 compared to an applauded rise in 2008.2Prior to these two reports, other NEA research showed a serious decline in both literary and book reading by adults of all ages, races, incomes, and education levels.3 Other survey data measuring what youth do in their leisure time indicated that young men and women read fewer than twelve minutes per day.4 These reports show that boys’ frequency of reading lags behind that of girls and that boys are reading neither the number of books nor the range of genres they should read as they progress through the elementary grades.

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McLeod, Douglas M., and Jill A. MacKenzie. "Print Media and Public Reaction to the Controversy Over NEA Funding for Robert Mapplethorpe's “The Perfect Moment” Exhibit." Journalism & Mass Communication Quarterly 75, no. 2 (June 1998): 278–91. http://dx.doi.org/10.1177/107769909807500204.

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In 1989, Robert Mapplethorpe's photographic exhibit The Perfect Moment toured the country with the support of a $30,000 grant from the National Endowment for the Arts. The exhibit, which included several sado-masochistic and homo-erotic photographs, drew the ire of the Reverend Donald Wildmon, who turned to Senator Jesse Helms (R- NC). In the summer of 1989, Congress debated policy toward the funding practices of the NEA, sparking a major controversy in Congress and in the arts community. This study examines media coverage of the controversy and the reaction of the public in terms of museum attendance and the value of Mapplethorpe's art.

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Niemeyer, Greg. "Waves of Data." Boom 6, no. 3 (2016): 80–83. http://dx.doi.org/10.1525/boom.2016.6.3.80.

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With Brittney Silva’s tragic May 2014 death fresh in everyone’s memory, the city of San Leandro began collaboration efforts between them and University of California, Berkeley to do something to make the city safer for pedestrians. A course was developed at UC Berkeley called Sensing Cityscapes, offered Fall 2015, aiming to collect data about human activities too often ignored. As part of the interdisciplinary UC Berkeley Global Urban Humanities Initiative, the class aimed to harness methods not just from city planning, engineering, and architecture, but from the humanistic disciplines, cognitive science, art, public health, and performance studies, bringing students together from each field. We now are bringing the installation back to the streets of San Leandro with the support of a National Endowment for the Arts (NEA) Our Town grant for a project called San Leandro Lights. Transferring the project from the lab back to the street, we hope that the positive effect for individuals we observed in the lab will remain, and that responsive lighting will create a dynamic culture of attention.

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Blythe, Kurt. "Access of Digitized Print Originals in U.S. and U.K. Higher Education Libraries Combined with Print Circulation Indicates Increased Usage of Traditional Forms of Reading Materials." Evidence Based Library and Information Practice 4, no. 1 (March 8, 2009): 21. http://dx.doi.org/10.18438/b8560c.

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A Review of: Joint, Nicholas. “Is Digitisation the New Circulation?: Borrowing Trends, Digitisation and the nature of reading in US and UK Libraries.” Library Review 57.2 (2008): 87-95. Objective – To discern the statistical accuracy of reports that print circulation is in decline in libraries, particularly higher education libraries in the United States (U.S.) and United Kingdom (U.K.), and to determine if circulation patterns reflect a changing dynamic in patron reading habits. Design – Comparative statistical analysis. Setting – Library circulation statistics from as early as 1982 to as recent as 2006, culled from various sources with specific references to statistics gathered by the National Endowment for the Arts (NEA), the Library and Information Statistics Unit (LISU), the Association of Research Libraries (ARL), the National Center for Education Statistics (NCES), and the Association of College and Research Libraries (ACRL). Subjects – Higher education institutions in the United States and United Kingdom, along with public libraries to a lesser extent. Methods – This study consists of an analysis of print circulation statistics in public and higher education libraries in the U.S. and U.K., combined with data on multimedia circulation in public libraries and instances of digital access in university libraries. Specifically, NEA statistics provided data on print readership levels in the U.S. from 1982 to 2002; LISU statistics were analyzed for circulation figures and gate counts in U.K. public libraries; ARL statistics from 1996 to 2006 provided circulation data for large North American research libraries; NCES statistics from 1990 to 2004 contributed data on circulation in “tertiary level” U.S. higher education libraries; and ACRL statistics were analyzed for more circulation numbers for U.S. post-secondary education libraries. The study further includes data on U.K. trends in print readership and circulation in U.K. higher education libraries, and trends in U.S. public library circulation of non-print materials. Main Results – Analysis of the data indicates that print circulation is down in U.S. and U.K. public libraries and in ARL-member libraries, while it is up in the non-ARL higher education libraries represented and in UK higher education libraries. However, audio book circulation in U.S. public libraries supplements print circulation to the point where overall circulation of book materials is increasing, and the access of digital literature supplements print circulation in ARL-member libraries (although the statistics are difficult to measure and meld with print circulation statistics). Essentially, the circulation of book material is increasing in most institutions when all formats are considered. According to the author, library patrons are reading more than ever; the materials patrons are accessing are traditional in content regardless of the means by which the materials are accessed. Conclusion – The author contends that print circulation is in decline only where digitization efforts are extensive, such as in ARL-member libraries; when digital content is factored into the equation the access of book-type materials is up in most libraries. The author speculates that whether library patrons use print or digital materials, the content of those materials is largely traditional in nature, thereby resulting in the act of “literary” reading remaining a focal point of library usage. Modes of reading and learning have not changed, at least insofar as these things may be inferred from studying circulation statistics. The author asserts that digital access is favourable to patrons and that libraries should attempt to follow the ARL model of engaging in large-scale digitization projects in order to provide better service to their patrons; the author goes on to argue that U.K. institutions with comparable funding to ARLs will have greater success in this endeavour if U.K. copyright laws are relaxed.

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Barron, Fraser. "National Endowment for the Arts: Advocate and Catalyst." Design For Arts in Education 86, no. 3 (February 1985): 26–30. http://dx.doi.org/10.1080/07320973.1985.9938110.

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MILLER, TOBY. "The National Endowment for the Arts in the 1990s." American Behavioral Scientist 43, no. 9 (June 2000): 1429–45. http://dx.doi.org/10.1177/00027640021955973.

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Peixoto, Paulo. "Título da página electrónica: National Endowment for the Arts (EUA)." Revista Crítica de Ciências Sociais, no. 67 (December 1, 2003): 145. http://dx.doi.org/10.4000/rccs.1127.

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Dissertations / Theses on the topic "National Endowment for the Arts (NEA)"

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Scanlan, Kalie Breanne. "The National Endowment for the Arts: An Advocacy for Federally Funding the Arts." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1490046498787158.

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Sciantarelli, Jennifer Ann. "The NEA and the dance field an analysis of grant recipients from 1991 to 2000 /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230571780.

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Sciantarelli, Jennifer Ann. "The NEA and the Dance Field: An Analysis of Grant Recipients from 1991 to 2000." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230571780.

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Fang, I.-Jen. "The 1986 National Endowment for the Arts Commission: An Introspective Analysis of Two Marimba Works." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4879/.

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The marimba is rapidly achieving greater importance as a solo percussion instrument. Solo compositions for the marimba have been commissioned and performed only in the last sixty years. The 1986 National Endowment for the Arts Solo Marimba Commission is considered one of the most important commissioning projects in the history of marimba literature. Two compositions created through this project, Velocities by Joseph Schwantner and Reflections on the Nature of Water by Jacob Druckman have become two of the most influential works in contemporary marimba music. This thesis will focus on a historical perspective of the project, as well as theoretical aspects and performance issues related to these two compositions. The National Endowment for the Arts (NEA) issued a consortium commissioning grant through the Percussive Arts Society (PAS) in 1986 to three internationally renowned marimbists, William Moersch, Leigh Howard Stevens and Gordon Stout. Three Pulitzer Prize winners were brought together to compose three new works for the marimba. The resulting pieces were: Reflections on the Nature of Water by Jacob Druckman, Velocities by Joseph Schwantner, and Islands from Archipelago: Autumn Island by Roger Reynolds. A brief history of the classical concert marimba and the development of solo marimba literature is provided in the second chapter. The fourth and fifth chapters provide individual information about the pieces, including concise biographical information about the composers and an analysis of the two compositions.

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Morrow, Paul. "Geopolitics of Translation: An Economic Analysis of the National Endowment for the Arts' Literature Translation Fellows Program." Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209442470.

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Guo, Wen. "A Policy-change Perspective on “Creative Placemaking”: The Role of the NEA in the American Arts and Culture-based Urban Revitalization from1965 to 1995." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420480424.

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Martel, Frédéric. "De la culture en Amérique : politique publique, philanthropie privée et intérêt général dans le système culturel américain." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0083.

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Pour analyser la complexité du système culturel américain, cette recherche part du rôle de l'Etat (1ère partie "Politique de la culture") qui suit la création des agences culturelles fédérales, leur déclin et décrypte les « politiques de la culture » des administrations américaines jusqu'à aujourd'hui. Parallèlement, le rôle des États et des villes est analysé à travers les mécanismes décentralisés du financement de la culture. A ce point, il est possible de saisir les raisons de la faiblesse du rôle public. Dans une deuxième partie ("La société de la culture"), la recherche se fonde sur une analyse de la philanthropie, des fondations et du rôle majeur des universités dans l'art. A partir de centaines de documents d'archives (dont 434 en annexes) et de plus de 700 interviews réalisés dans 35 Etats et 110 villes américaines, le « modèle » culturel américain apparaît dans son originalité et sa complexité, ni dépendant de l'Etat, ni véritablement influencé par le marché
In order to analyze the complexity of the « American cultural system », this PhD dissertation begins in Part I (“Government of the arts”) with the role of the government following the creation of the federal arts agencies, examines the decline of these agencies, and deciphers the “cultural politics” (“politiques de la culture”) of subsequent American administrations to the present day. At the same time, the role of state and local governments is analyzed within the context of the decentralized mechanisms of arts funding. By this point, the limited role of the public sector becomes more comprehensible, for reasons that include the democratic ideal itself. In Part II (“Society and the arts”), this dissertation looks at philanthropy, foundations and the important role of universities play in the arts. Through hundreds of archival documents (among 434 as appendices) and more than seven hundred interviews in 35 states and 110 American cities, the American cultural model” appears in all its singularity and complexity, largely “nonprofit”, neither dependent on the state, nor truly influenced by the market

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Galligan, Ann Mary. "The National Endowments for the Arts and Humanities : an experiment in cultural democracy /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10858222.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Sponsor: Robert O. McClintock. Dissertation Committee: Ellen Condliffe Lagemann. Bibliography: leaves 197-210.

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Milakovic, Amy E. "The National Endowment for the Arts' "Operation Homecoming" shaping military stories into nationalistic rhetoric /." [Fort Worth, Tex.] : Texas Christian University, 2009. http://etd.tcu.edu/etdfiles/available/etd-10162009-150448/unrestricted/Milakovic.pdf.

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Smith, David A. "Covered wagons of culture : the roots and early history of the National Endowment for the Arts /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999316.

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Books on the topic "National Endowment for the Arts (NEA)"

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Chavez, Nicolasa. A century of masters: The NEA National Heritage fellows of New Mexico. Los Ranchos, NM: Rio Grande Books, 2009.

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Chavez, Nicolasa. A century of masters: The NEA National Heritage fellows of New Mexico. Los Ranchos, NM: Rio Grande Books, 2009.

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Chavez, Nicolasa. A century of masters: The NEA National Heritage fellows of New Mexico. Los Ranchos, NM: Rio Grande Books, 2009.

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Independent Commission (U.S.). Bipartisan Independent Commission unanimously opposes specific content restrictions on NEA-funded art, urges sweeping reforms in arts endowment system. Washington, DC: Independent Commission, 1990.

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Through the lens of the city: NEA photography surveys of the 1970s. Jackson: University Press of Mississippi, 2005.

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Rice, Mark. Through the lens of the city: NEA photography surveys of the 1970s. Jackson: University Press of Mississippi, 2005.

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United States. Congress. House. Committee on Government Operations. Government Activities and Transportation Subcommittee. Effect of last year's NEA reauthorization process: Hearing before the Government Activities and Transportation Subcommittee of the Committee on Government Operations, House of Representatives, One Hundred Second Congress, first session, October 28, 1991. Washington: U.S. G.P.O., 1993.

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New Public Works: Architecture, planning, and politics. New York: Syracuse University School of Architecture and Princeton Architectural Press, 2013.

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Frohnmayer, John. Leaving townalive: Confessions of an arts warrior. Boston: Houghton Mifflin, 1993.

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Leaving town alive: Confessions of an arts warrior. Boston: Houghton Mifflin, 1993.

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Book chapters on the topic "National Endowment for the Arts (NEA)"

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Pankratz, David B., and Carla Hanzal. "Leadership and the NEA: The Roles of the Chairperson and the National Council on the Arts." In America's Commitment to Culture, 144–68. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429036965-6.

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Kammen, Michael. "Culture and the State in America." In In the Past Lane, 75–98. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195111118.003.0002.

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Abstract During 1989-90 the National Endowment for the Arts (NEA) underwent a fierce attack because it indirectly funded allegedly anti-Christian work by Andres Serrano and a Robert Mapplethorpe photographic exhibition considered pornographic by some.* In 1991 a revisionist, didactic display of Western art at the National Museum of American Art (part of the Smithsonian Institution) aroused congressional ire, yet that latter episode now seems, in retrospect, a fairly calm fracas compared with the controversy generated in 1994-95 by “The Last Act, “ a long-planned exhibition concerning the end of World War II in the Pacific that was canceled by the Secretary of the Smithsonian because of immense political pressure and adverse publicity emanating from veterans ‘ organizations and from Capitol Hill. Throughout 1995 those who hoped to eliminate entirely the National Endowment for the Humanities (NEH) and NEA, the Institute of Museum Services, and the Corporation for Public Broadcasting, and to reduce.

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Iyengar, Sunil. "Aligning Arts Research with Practitioner Needs." In The Oxford Handbook of Arts and Cultural Management, C46.S1—C46.S6. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197621615.013.46.

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Abstract For much of the past half century, researchers at the National Endowment for the Arts (NEA) have marshaled statistics about arts “supply and demand” in the United States—one thinks immediately of surveys tracking the public’s arts participation habits, or reports about the artist labor force or arts organizations and industries. A separate focus of NEA research has been to measure the “value and impact” of the arts for individuals and communities. Such studies often use experimental or quasi-experimental methods to understand the relationships between the arts and various outcomes of interest, such as in health, education, or community development. The COVID-19 pandemic’s toll on arts organizations and arts workers has revealed some limitations to this twofold approach. The United States currently lacks a national arts surveillance and reporting system, one with sufficient data streams (approximating real time) that reliably can inform the sector about the health and vitality of its component parts, especially during economic downturns. Also lacking is a national clearinghouse of evidence-based practices that can appeal directly to arts managers. Although the NEA is not in a position to satisfy both needs entirely, the agency’s development of a new strategic plan and research agenda has surfaced themes that will contribute to a far more practitioner-oriented set of research investments than the NEA has made in previous years.

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Uy, Michael Sy. "Gatekeeping from Within." In Ask the Experts, 45–74. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0003.

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This chapter elucidates the previously opaque and little-understood roles of foundation and National Endowment for the Arts (NEA) staff and officers, or “philanthropoids” as famous American writer Dwight Macdonald referred to them in his famous New Yorker article. These officers included program directors Walter Anderson (NEA) and Norman Lloyd (Rockefeller); vice president W. McNeil Lowry (Ford); and chairmen Roger Stevens (NEA) and Nancy Hanks (NEA). Foundation and NEA officers, as well as board of trustee members, were “interactional experts”—experts knowledgeable about a field, even if not actively contributing to new knowledge or self-identifying as experts—with tremendous influence in the operation of the system. They decided the kinds of outside voices that were heard in the decision-making process. They were gatekeepers, interlocutors, and translators between the outside consultants they recruited and grant applicants. They wielded the almighty red and black pens and their Rolodexes were a who’s who of asked experts.

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Uy, Michael Sy. "Pluralism and Public-Private Relationships in the Field of Cultural Production." In Ask the Experts, 75–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0004.

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This chapter explores the coordination, cooperation, and competition between the federal government and private philanthropic organizations. As a federal agency, the National Endowment for the Arts (NEA) was mandated to serve broadly the interests of all citizens, groups, and communities. Private foundations, on the other hand, could decide to uniquely tailor their chosen missions. Regardless of differences in institutional practices and operation, however, the NEA, Ford Foundation, and Rockefeller Foundation collectively served as weathervanes in the field. Their “seals of approval” guided the decision making of individual patrons, smaller foundations, state art agencies, and corporations. Furthermore, their matching requirements concentrated winners and excluded losers because most often, grantees already possessed other sources of social and economic capital. After the Tax Reform Act of 1969, foundations and the federal government found even more reasons to communicate and cooperate with one another, including at high-powered gatherings like Rockefeller’s “How Can Foundations Help the Arts?” meeting in 1974.

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Uy, Michael Sy. "The National Endowment for the Arts, the U.S. Bicentennial, and the Expansion Arts and Jazz/Folk/Ethnic Programs." In Ask the Experts, 155–82. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0007.

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This chapter investigates the National Endowment for the Arts’s (NEA’s) jazz program, Expansion Arts division, Bicentennial fellowships for “jazz/folk/ethnic” artists, and Folk Arts division. While the NEA mirrored a policy of matching requirements in its Treasury grants—which supported predominantly symphony orchestras—it also provided several millions of dollars to otherwise underrepresented and undersupported artists and communities. Not only were the NEA’s officers keenly committed to helping jazz and folk music, but also they brought in experts from urban, suburban, and rural communities to work as program directors. Vantile Whitfield and A. B. Spellman—key figures in the black arts movement of the 1970s—became directors. These experts recruited panelists of a broader geographical, racial, and gender representation, and similarly funded more diverse musicians and artists. Compared to the Ford and Rockefeller Foundations, which rarely provided funding to jazz or the music of minority communities, the government agency was a lifeline to otherwise unseen and unheard cultural practices.

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Uy, Michael Sy. "Introduction." In Ask the Experts, 1–18. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0001.

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This chapter introduces the book’s sociocultural history of expertise as analyzed in arts and music grantmaking during the 1950s, 1960s, and 1970s, It explains the origins of the Rockefeller Foundation, Ford Foundation, and National Endowment for the Arts (NEA) as grantmaking institutions, the individuals involved, and how the missions of the two foundations eventually came to include arts funding. The 1960s and 1970s were a period of “cultural explosion,” as characterized by the popular press. During the early part of the Cold War, both foundations were also subject to congressional investigations which impacted their grantmaking. Finally, the introduction includes a chapter overview of the book, as well as its division into two parts: “Who Were the Experts?” and “Experts in Action.”

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Uy, Michael Sy. "Epilogue." In Ask the Experts, 183–204. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0008.

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The epilogue discusses recent developments in arts funding and philanthropy. The divergent paths of Rockefeller and Ford—where the former discontinued its arts program and the latter rebranded its cultural work in terms of addressing “inequality”—is a revealing outcome of the increasing social and economic legitimation of arts funding. The National Endowment for the Arts (NEA) experienced its first budget cut under President Reagan and then, amidst the culture wars, Congress slashed its budget further. Private contributions have increasingly taken up the slack, but not without their own challenges. New philanthropists are exploring limited liability corporations, donor-advised funds, and metrics and outcomes-based funding. With increasing economic and political inequality and decreasing civic engagement, the government funds foregone because of tax-deductible charitable contributions might be re-evaluated, as well as the ways the federal government may be better suited to provide resources more equitably. An ethics of expertise is now more critical.

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Robin, William. "Funding." In Industry, 104–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190068653.003.0005.

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In the midst of the Culture Wars, in which Congressional Republicans and the religious right attempted to defund the National Endowment for the Arts, Bang on a Can expanded and professionalized. Cuts to government funding throughout the 1980s and 1990s shaped how Bang on a Can and their peers navigated their relationship to the marketplace. Other controversies also emerged, as when the New York State Council on the Arts attempted to implement policy around multicultural programming and encourage institutions to seek out audiences, to the chagrin of composers Charles Wuorinen and Milton Babbbitt as well as the Group for Contemporary Music. But Bang on a Can made the most of this moment, carving out new sources of income, diversifying their programming, reaching new audiences, and ultimately starting a new program, the People’s Commissioning Fund, in the wake of the devastating cuts to the NEA passed in the mid-1990s.

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Myers, David E., and Arthur C. Brooks. "Policy Issues in Connecting Music Education with Arts Education." In The New Handbook Of Research On Music Teaching And Learning, 909–30. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195138849.003.0054.

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Abstract In 1976 Charles Fowler wrote in the College Music Symposium of several national trends in arts education. Indicative of what Fowler called a new arts education, the trends included increased cooperation among arts disciplines, infusion of the arts into academic subjects, and broader representation of all the arts in the curriculum. His thesis was that changes in the field of arts education properly challenged music educators to “broaden our bases, to burst our narrow specialties, to seek a multi-dimensional focus.” In support, he identified two specific programs funded by the National Endowment for the Arts (NEA) and the United States Office of Education (USOE): the Artists-in-Schools (AIS) Program, and Interdisciplinary Model Programs in the Arts for Children and Teachers (IMPACT). Characterizing these efforts as a “developing phenomenon,” Fowler suggested that the policy direction they represented would require of music educators “a new process of transaction-with the other arts, with artists, ... and with the entire community” (p. 24). The purpose of this chapter is to review arts education policy developments over the past 35 years, including the trends Fowler identified, and to consider issues that have affected the relationship between music education and the larger policy arena of arts education. Arts and Humanities Program of the U.S. Office of Education (1965-1974) Federal support for arts education found its first home in the Cultural Affairs Branch of the Division of Library Services and Continuing Education of the USOE. The Cultural Affairs Branch, established in 1962, was later renamed the Arts and Humanities Branch. In 1965 it became the Arts and Humanities Program (AHP). Until its demise in 1974, AHP served as the primary administrative venue for federal support of arts education. Kathryn Bloom, AHP’s director until 1968, also functioned as special adviser on the arts and humanities for the commissioner of education, Francis Keppel.

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