Supporting the Arts in the Eighties: The View from the National Endowment for the Arts

1984 ◽  
Vol 471 (1) ◽  
pp. 84-88 ◽  
Author(s):  
FRANCIS S.M. HODSOLL
Keyword(s):  
Active Role ◽  
National Endowment ◽  
Arts Organizations ◽  
Private Giving ◽  
Highly Active ◽  
The Arts ◽  
Private Citizens ◽  
Private Support ◽  
Development Of Partnership

The federal government's direct involvement in funding the arts has come relatively recently in our nation's history. The National Endowment for the Arts was established to this end in 1965. Local private giving to support the arts preceded the Endowment and continues as the principal factor. The federal government's role, intended to complement the highly active role of private citizens, provides national recognition that the arts are vital to the nation. Within the context of America's private giving, the National Endowment for the Arts has a number of specific tasks in support of the arts, which will be particularly important in this decade—a time of major economic and demographic change. The Endowment's six-part strategy for the 1980s encourages (1) longer-term institutional support for arts organizations; (2) projects that advance the art forms or bring a diversity of arts to broader audiences; (3) better management and planning by arts institutions; (4) development of partnership among public arts agencies; (5) greater private support; and (6) linkages among systems of arts information.

Our Government's Support for the Arts: Nourishment or Drought

1984 ◽  
Vol 471 (1) ◽  
pp. 89-101
Author(s):  
LIVINGSTON BIDDLE
Keyword(s):  
National Endowment ◽  
Arts Organizations ◽  
Cultural Institutions ◽  
Federal Support ◽  
The Arts ◽  
Private Citizens ◽  
Private Support

The National Endowment for the Arts, coming into existence in a period when federal support of the arts was not a popular cause in Congress, has survived and prospered with bipartisan support. From its beginnings the Endowment has operated under the principle that private support of the arts is of primary importance, and that the agency should be guided by the advice of private citizens. Endowment grants have supported artists and cultural institutions and companies, increased education in the arts, improved the aesthetics of city living, and encouraged development of ethnic projects. Challenge Grants, which bolster arts organizations, have been an immense success. The article presents the author's views regarding the essential and precedent-setting nature of the Arts Endowment, its meaning to Americans and the arts at the very core of life. The author discusses the catalytic impact of the Endowment since 1965, and expresses deep concern that a time of exceptional nourishment may give way to a time of drought.

The Role of Collaboration to Encourage Civic Engagement through the Arts

2017 ◽  
pp. 476-498
Author(s):  
Tina Dippert ◽  
Erna Gelles ◽  
Meg Merrick
Keyword(s):  
Arts Organizations ◽  
Arts Funding ◽  
Collaborative Relationships ◽  
Art Programs ◽  
Universal Language ◽  
The Arts ◽  
Governance Challenges ◽  
Diverse Community ◽  
Relevant Community

Historically governments have used art's universal language to achieve various goals, including political engagement through cultural enrichment. Employing nonprofit/public sector relationships for the arts presents myriad governance challenges, but always with the promise of intrinsic and extrinsic benefits. This chapter presents two cases to illustrate such collaborative relationships. Applying various nonprofit theories, stakeholder discussions and Sherry R. Arnstein's still relevant community engagement work to explore relationships between sectors in arts funding, the first involves the passage of a local tax to provide funding for arts education and arts organizations. The second illustrates an instrumental relationship between a local government and nonprofit to provide art programs to promote tolerance in an increasingly diverse community. Both cases present imperfect policies, but represent the continuation of an ancient practice wherein the arts are being used for more than arts' sake, but to serve a multitude of non-arts instrumental societal functions.

scholarly journals A Corpus-based Investigation of Diachronic Evolution of Like and Its Variants through Grammaticalization

2019 ◽  
Vol 10 (3) ◽  
pp. 81
Author(s):  
Qing Liang Meng
Keyword(s):  
Second Language ◽  
Active Role ◽  
Human Beings ◽  
Language Pedagogy ◽  
Historical Trend ◽  
Highly Active ◽  
Second Language Pedagogy ◽  
Grammatical Functions

The purpose of this research is to investigate the diachronic evolution of the word “like” and its variants “likely”, “like to”, “feel like”, and “would like to”, etc. in the process of grammaticalization. Statistics from the search of corpora BNC and COHA show the variants of “like” and their historical trend of grammatication. The results demonstrate the highly active role of “like” in both lexical and grammatical functions in history. Furthermore, the variants and collocations of “like” have been the result of frequent interaction between human beings and languages. The findings have significant implications for second language pedagogy.

scholarly journals FINANCE MANAGEMENT IN ARTS ORGANIZATIONS IN BULGARIA

2019 ◽  
Vol 7 ◽  
Author(s):  
Vesela Kazashka
Keyword(s):  
Financial Management ◽  
Small Scale ◽  
Arts Organizations ◽  
Finance Management ◽  
The Arts ◽  
Art Organizations ◽  
The One ◽  
And Control ◽  
Goals And Objectives

Arts organizations are a major factor in the Bulgarian economic. Good management of Art  organizations  is also associated with good financial management and control in order to achieve their  goals and objectives. The delegated budgets, the small scale of most of the Arts organizations, are a prerequisite for saving money or imposing the appointment of a financial controller. The lack of such a specialist in turn leads to poor control, inefficient spending of funds, violations and failure to verify costs, which can sometimes lead to bankruptcy. The objective of the report is two-sided - on the one hand, preventing the repetition of mistakes perceived as unsuccessful practices and, on the other hand, emphasizing the place and role of controlling the financial execution of a project and its importance for optimizing the effectiveness of the implementation as well as in the overall activity of Art  organizations.

The Role of Collaboration to Encourage Civic Engagement Through the Arts

2019 ◽  
pp. 539-561
Author(s):  
Tina Dippert ◽  
Erna Gelles ◽  
Meg Merrick
Keyword(s):  
Arts Organizations ◽  
Arts Funding ◽  
Collaborative Relationships ◽  
Art Programs ◽  
Universal Language ◽  
The Arts ◽  
Governance Challenges ◽  
Diverse Community ◽  
Relevant Community

Historically governments have used art's universal language to achieve various goals, including political engagement through cultural enrichment. Employing nonprofit/public sector relationships for the arts presents myriad governance challenges, but always with the promise of intrinsic and extrinsic benefits. This chapter presents two cases to illustrate such collaborative relationships. Applying various nonprofit theories, stakeholder discussions and Sherry R. Arnstein's still relevant community engagement work to explore relationships between sectors in arts funding, the first involves the passage of a local tax to provide funding for arts education and arts organizations. The second illustrates an instrumental relationship between a local government and nonprofit to provide art programs to promote tolerance in an increasingly diverse community. Both cases present imperfect policies, but represent the continuation of an ancient practice wherein the arts are being used for more than arts' sake, but to serve a multitude of non-arts instrumental societal functions.

Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts

2022 ◽  
Vol 21 (2) ◽  
pp. 256-265
Author(s):  
I Wayan Dana ◽  
Ni Kadek Juni Artini
Keyword(s):  
Cultural Context ◽  
Qualitative Method ◽  
Active Role ◽  
Cultural Resilience ◽  
Traditional Art ◽  
The Arts ◽  
Large Trees ◽  
Traditional Arts ◽  
Male Dancers

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is  to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali. 

Culture in a Cold Climate

1984 ◽  
Vol 471 (1) ◽  
pp. 117-122
Author(s):  
CHRISTOPHER PRICE
Keyword(s):  
Cold Climate ◽  
Arts Organizations ◽  
Left Wing ◽  
Private Companies ◽  
The Public ◽  
The Arts ◽  
Parliamentary Committee ◽  
The Government ◽  
Traditional Arts ◽  
Private Support

Culture has been seen in Britain as a national institution worthy of public expenditure since the nineteenth century, but recent cutbacks in British government spending on the arts have forced the British to reexamine the place of culture in their society. The government wants the arts to raise income from private companies and individuals, but it has not provided any tax incentives for such private support. Private support of the arts in Britain poses several problems. It would blur what has been a clear distinction in the English establishment's mind between the public world of service to the community and the private world of commercial gain; and it tends to encourage popular or traditional arts ventures over innovative ones. In general, British politicians fear the economics of the arts because of its left-wing political potential. The author's parliamentary committee advocates the establishment of a ministry of culture, with national companies obtaining funds directly from the ministry, and with regional arts organizations taking responsibility for the remaining 60 percent of public cultural funding.

Arts and The City: Policy and Its Implementation

2020 ◽  
Vol 46 (2) ◽  
pp. 22-38
Author(s):  
Ann Markusen ◽  
Anne Gadwa Nicodemus
Keyword(s):  
The United States ◽  
National Endowment ◽  
Arts Organizations ◽  
Policy Initiative ◽  
Place Making ◽  
The Arts ◽  
Art And Culture ◽  
City Policy ◽  
The Impact ◽  
The City

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.

Role of spectrin in membrane fusion and in shape change of human erythrocyte ghost

1978 ◽  
Vol 36 (2) ◽  
pp. 328-329
Author(s):  
Hideo Hayashi ◽  
Yoshikazu Hirai ◽  
John T. Penniston
Keyword(s):  
Conformational Changes ◽  
Human Erythrocyte ◽  
Shape Change ◽  
Membrane Surface ◽  
Slight Modification ◽  
Active Role ◽  
Main Role ◽  
Bank Blood ◽  
Human Erythrocyte Ghost

Spectrin is a membrane associated protein most of which properties have been tentatively elucidated. A main role of the protein has been assumed to give a supporting structure to inside of the membrane. As reported previously, however, the isolated spectrin molecule underwent self assemble to form such as fibrous, meshwork, dispersed or aggregated arrangements depending upon the buffer suspended and was suggested to play an active role in the membrane conformational changes. In this study, the role of spectrin and actin was examined in terms of the molecular arrangements on the erythrocyte membrane surface with correlation to the functional states of the ghosts.Human erythrocyte ghosts were prepared from either freshly drawn or stocked bank blood by the method of Dodge et al with a slight modification as described before. Anti-spectrin antibody was raised against rabbit by injection of purified spectrin and partially purified.

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