WGAHE The Structure of the Arts in the United States Current Conditions and Next Steps from the Perspective of Higher Education

Transcription

1 WGAHE The Structure f the Arts in the United States Current Cnditins and Next Steps frm the Perspective f Higher Educatin

2 THE STRUCTURE OF THE ARTS IN THE UNITED STATES Current Cnditins and Next Steps frm the Perspective f Higher Educatin A Statement f the Wrking Grup n the Arts in Higher Educatin

3 Abstract PARTI Three Elements Overview Creatin and Presentatin Educatin Supprt PARTE Cnnectins Creatin/Presentatin and Supprt Educatin and Supprt Creatin/Presentatin and Educatin PART EI Stresses External Stresses Funding Educatin Values Piupse Internal Stresses Institutinal Rles Funding Surces Public Relatins Cntent K-12 Arts Educatin Higher Educatin American Wrk Plicy Develpment PART IV Next Steps Synchrnizatin Lcal Cntrl Analytical Questins Cnclusin Cntents

4 Abstract The arts in the United States are prduced, taught, funded, and gverned thrugh a unique structure, develped ver many years by the aggregate effrts f numerus builders. This structure is magnificently cmplex. It achieves much. It culd achieve much mre. While the arts in the United States re prductive, energetic, and vigrusly prmted, artists and arts rganizatins face cntinuus financial, and thus prgrammatic, difficulties. Arts agencies nw use the term "artistic deficit" t indicate when presenting rganizatins achieve "financial stability at the expense f the art frm." Many teachers and administratrs face with declining ptimism each year's battle t maintain curriculum-based arts instructin in the schls. Managers and arts administratrs wrry abut diminishing results frm increased expenditures fr prmtin. These cnditins and thers f similar nature demand a review f the structure f the arts in the United States in rder t determine what is needed t make ur effrts fr art mre effective. The structure cntains three basic elements: (1) creatin and presentatin, (2) educatin, and (3) supprt. These elements frm a tripd n which the arts enterprise rests. If each element is nt strng in and f itself, r if each is nt peratinally supprtive f the thers, the tripd fails and the whle arts enterprise falters. Naturally, cnnectins exist amng these three elements. It is bvius that supprt must be prvided fr creatin, presentatin, and educatin in the arts. Cimectins between educatin and creatin/presentatin are just as essential, even if less cmmnly understd. All peratinal stractures are subject t intemal and external stresses. The structure supprting art in the United States is n exceptin. The external cntext fr arts activities generates bvius and well-publicized funding difficulties. There are als deeper cncems in the realm f values. Prblems with defining what art is r in srting ut the varius pmpses art serves create serius tensins fr all three elements f the arts enterprise. These extemal stresses ften place the arts cmmunity in the psitin f having t sell a prduct it cannt define fr the public at large by citing benefits that can neither be defined nr quantitatively justified. Smehw this cycle f public misunderstanding must be brken. The structure f the arts in the United States creaks with intemal tensins as well. T ften an unhealthy level f cnflict is present ver institutinal rles, access t funding, public relatins philsphies, the purpse and cntent f arts educatin fr children and yuth, repertry, and influence in plicy develpment. New Mechanisms fr cperatin are necessary t reduce the intemal and extemal stresses utlined abve. These mechanisms must be centered n the arts disciplines themselves, n wrks f art, and n teaching and learning the varius arts. One f ur great challenges is t find a better balance between substance and prmtin in the peratin f all arts activities. Other issues include the levels f ur aspiratins fr artistic achievement and educatinal accmplishment, the effectiveness f ur plicy develpment mechanisms, and the viability f ur evaluative criteria. Imprvements fr the American arts enterprise will ccur t the extent that representatives f all three elements vlunteer t strengthen the tripd and becme mutually supprtive at lcal, state, and natinal levels. Only by understanding the linkages between interdependence and success can the creatin/presentatin, educatin, and supprt sectrs expect t imprve the cnditins under which they are wrking. Only by addressing this interdependence in peratinal terms can inherent ptentials fr the arts in American be fully realized.

5 Overview PARTI THREE ELEMENTS The art enterprise in the United States results frm the cmpsite effrts f many independent individuals and rganizatin in the public and private sectrs. There are three primary elements: Creatin and presentatin - Making new wrks f art an perfrming r exhibiting them alng with wrks f the past. Educatin Teaching and learning at all levels fr the general public and fr prfessinal artists, Supprt - Prmtin, management, funding, and the develpment f audiences. The art enterprise in the United States can prsper nly t the extent that each element is healthy in and f itself and t the extent that all three elements are mutually supprtive. Creatin and Presentatin Each arts discipline exhibit its wn pattern f creatin and presentatin. In sme manifestatins, the artist wrk alne; in thers, the artist's endeavrs are always characterized by intensity, cmmitment, and the physical applicatin f knwledge and intellectual skill. Ellwing the act f creatin, art is presented by rganizatins f varying sizes and scpes f activity. Withut musical rganizatins, theatre cmpanies, dance trupes, and art galleries, the public wuld have limited access t art f the past r present. The creatin and presentatin f art are at the cre f the arts enterprise, revealing insights abut culture and experience that are unavailable by any ther means. It is the search fr this insight that is the fu^t respnsibility f rganizatins that present art. Educatin Educatin is central t the creatin, presentatin, an understanding f art. Artists wrk with cmplex symbl systems. The arts disciplines, therefre, require knwledge and skills f their audiences as well as f their practitiners. Access t the intellectual cntent f art is enhanced by a receiver's knwledge f an art frm. While it is pssible t gain an appreciatin f art thrugh expsure, the deepest understandings are achieved by thse wh have studied art seriusly. The educatin cmpnent als perfrms functins that g beynd fulfillment f its central respnsibility fr teaching and learning: it serves as the primary mechanism fr discvering and nurturing thse with utstanding capabilities in the varius arts; it prvides facilities and resurces fr the presentatin f art, fr research, and fr schlarship; and it is an elemental frce fr maintaining, regenerating, and enriching the intellectual traditins f artistic endeavr. Supprt N enterprise can exist withut an infrastructure f supprt, and while supprt invlves prmtin, management, and a variety f ther activities, funding is always paramunt. In the United States, matter f culture traditinally have been cnsidered a primary respnsibility fr the private sectr. Thus, the arts must cmpete fr funding. Cmpetitin intensifies as develping ecnmic cnditins make it increasingly difficult fr audiences and private patrns t prvide requisite financial supprt. T deal wit this cmpetitin, fundatins, arts agencies, schl bards, trustees grups in higher educatin, legislative bdies, and gverning bards f presenting rganizatins prvide a cmplex fmancial

6 supprt system essential t the arts enterprise in the United States. Supprt invlves nt nly mney, but time. Many individuals dedicate their spare hurs t prmting and raising fimds fr arts endeavrs. Withut these vlunteers, many arts and arts educatin effrts culd nt cntinue. Thus, rganizatins f vlunteers have significant influence n the arts enterprise in the United States. This pwerful relatinship amng applicatins f vlunteer time, funding develpment, and arts plicy frmulatin is perhaps unique in the Westem wrld. Since the ttal arts enterprise in the United States is s large, its management structure is cmplex at best, and labyrinthine at wrst. While mst presenting rganizatins are still cntrlled at the lcal level, natinal rganizatins in bth public and private sectrs have develped t serve and ften t crdinate lcal supprt peratins and initiatives. These natinal rganizatins nw exert significant influence n cultural plicy develpment bth singly and cllectively. This, t, represents a unique apprach.

7 Creatin/Presentatin and Supprt PART II CONNECTIONS Artists and presenting rganizatins are supprted by individual cnsumers thrugh ticket sales and purchases f art wrks. Therefre, relatinships between the artist and the cnsumer are essential. These invlve agent/artist management functins, marketing and public relatins, galleries and publishers, and manufacturing related t each art frm. Unfrtunately, the creatin/presentatin f art cannt be ttally funded by the purchases f cnsumers. Mst presenting rganizatins rely n cntributins frm bth public and private surces t meet annual financial cmmitments. This situatin prduces a special cnstituency f thse able t cntribute deficit-reducing funds. While this financially elite grup was frmerly lcated in the private sectr, since 1965 it has expanded t include a large gvernmental supprt system at natinal, state, and lcal levels. Given the financial leverage bth public and private philanthrpists nw have n mst presenting rganizatins, enrmus pressures can be exerted n artistic philsphy and cntent. The pwer f art t reflect glry n thse wh fund it as well as thse wh make it simply cmpunds the difficulties inherent in this situatin. The relatinships amng creatin and presentatin, cnsumer supprt, and philanthrpic supprt have all cmbined t prvide relatively high prices fr ppular visual artists and high fees fr famus perfrming artists. Hwever, fr the deserving artist withut such recgnitin, benefits are nt s readily frthcming. This situatin is particularly prblematic in a sciety dminated by mass media and by public relatins techniques that tend t cnfuse fame and achievement. This cnditin reinfrces the need t ensure that cnsideratins abut relatinships between artistic cntent and supprt remain apprpriately balanced in plicy develpment. Educatin and Supprt The supprt system fr educatin in the arts has many features similar t the supprt system fr creatin and presentatin. Hwever, while verall patterns remain the same, different bjectives prduce a different cntext fr seeking and maintaining supprt. This is the case because success in educatin is measured in develpmental terms, while success in creatin/presentatin is mst ften measured in immediate terms. Althugh students demnstrate their shrt-term prgress thrugh tests and ther evaluatins, educatin is fcused n lng-term grwth. Each student's particular rle in the arts lies in the future when knwledge and skills acquired thrugh educatin are applied. This differs frm the wrld f prfessinal creatin and presentatin where immediate judgements are made abut quality, effectiveness, and success. Lcal, state, and federal funding fr educatin has been a feature f the American scene far lnger than gvernmental supprt fr the creatin and presentatin f art. Nrmally, hwever, creatrs and presenters f art are the recipients f direct funding: individuals and rganizatins supprt artists and presentatin grups invlved in ne f the art frms. Supprt fr educatin in the arts is quite different. Here, mst f the funds are prvided fr public r private educatin in general, t a cllegiate institutin, private schl, r schl system, fr example. These general funds are then divided by prfessinal educatrs with levels f supprt fr the varius arts determined accrding t their relative pririty with ther disciplines. Since specific funding decisins are ften made by educatrs with little cmmitment t art, t many teachers f the arts struggle cnstantly t cnvince educatinal clleagues and public alike that curriculumbased arts instructin is imprtant. Ntable exceptins t this situatin exist: independent schls fcusing specifically n teaching ne r mre f the arts, majr bequests r funding specified fr the supprt f educatin in the arts, funds t accmplish special prjects in arts

8 educatin, and institutins with unquestined pririties fr arts instructin. Creatin/Presentatin and Educatin Many practicing artists serve as teachers. The reverse is als typical: individuals whse livelihds are centered in teaching als wrk as prfessinal artists. At these mst basic levels f persnnel interchange, cnnectins between creatin/presentatin and educatin are healthy. Creatin/presentatin and educatin share anther symbitic relatinship. The creatin/presentatin sectr prduces r reprduces the subject matter with which the educatin enterprise is engaged. Educatin, n the ther hand, prvides access t this subject matter fr prfessinal artists, amateurs in the arts, and the general public. Despite the bvius persnnel and functinal cnnectins utlined abve, there is a surprisingly little philsphical and peratinal linkage between the creatin/presentatin and educatin elements f the American arts enterprise. Separate effrts mve essentially n parallel curses, due partially t a difference in basic bjectives. Artists and presenting rganizatins are prfessinally cncerned with wrks f art. Whiles these individuals and grups teach thugh presentatin f their wrk, they are nt fundamentally invlved in teaching the arts as disciplines. The educatin enterprise is engaged in teaching subject matter and physical skills in the arts disciplines n a regular basis. Creatin and presentatin activity by students and the histrical and analytical study that supprt it is the result f educatinal wrk. The paucity f philsphical and peratinal linkages between creatin/presentatin and educatin is a majr factr preventing the American arts enterprise frm realizing its full ptential. Greater cperatin between the tw elements wuld result in imprved identificatin, educatin, career entry, and career develpment prspects fr American artists. Greater cperatin wuld als imprve capabilities fr develping a mre knwledgeable, sphisticated, and cmmitted public fr the varius arts.

9 External Stresses Funding PARXm STRESSES Funding is an all-cnsuming prblem fr almst every element in the American arts enterprise. The fimding dilemma creates a number f extemal stresses. These stresses share a primary surce: histrically, mst Americans have nt given high pririty t the creatin and presentatin f wrks f art, nr have they given high pririty t rigrus educatin in the arts disciplines. Such cnditins prduce a cycle f neglect. A perpetual result is that mst American arts rganizatins are s busy trying t survive frm year t year that cnsideratins fr lng-term slutins remain n the realm f impssible dreams; effrts t develp funding usually represent a series f vignettes played ut ver brief time frames. Such effrts are ften successful. The rganizatin survives. Hwever, shrt-term funding cncepts, whether applied t prmtinal campaigns fr audiences, student recruitment effrts, r fund drives in the public r private sectr, ften fail t address prblems with the underlying value system that are the majr surces f funding prblems in the fu^t place. Educatin While sme American accmplishments in develping K-12 arts educatin prgrams have been utstanding, and while the United States has becme a wrld leader in preparing prfessinal artists, it is clear that ur educatinal system as a whle is nt prducing the student cmpetencies necessary fr the future cultural and scial health f ur sciety. In t many cases, the resurces t prvide sequential arts curricula at the K-12 level are the first t be cut when funding exigencies becme demanding. Thus, the majrity f students have little r n regular access t sequential study f arts, aspects f human endeavr that will shape their lives as surely as the English, mathematics, and science studies accrded such high pririties in their schling. Educatin in the arts has been defined by sme as a series f experiences, a walk thrugh an art museum r arts center, a visit by an artist - a splash f aesthetic water prvided by whatever lcal cmmunity resurces are available. While such experiences have merit, they d nt substitute fr rigrus educatin. When such substitutin takes place, it nly cnfirms t students and parents alike that educatinal plicy-makers d nt regard the varius arts as imprtant as ther disciplines. Of curse, the wrst situatin f all is an educatinal experience cmpletely devid f art. Unfrtunately, this t, is the reality fr large numbers f students. Obviusly, the current arts educatin situatin is a primary generatr f stress n the natinal arts structure. In t many cases, appraches t educatin in the arts disciplines unwittingly reinfrce values detrimental nt nly t future funding f the arts enterprise, but t its quality and prductivity as well. Values Values held by varius individuals and grups include varius definitins f art. Given the diversity f American sciety, attempts t define art n the cntexts f plicy discussins cntinue t be difficult. Debates abut these definitins are t be encuraged but such exchanges als shuld be recgnized as surces f stress n the arts enterprise as a whle. Natinal debate is grwing, fr example, abut distinctins between art and entertainment, between intellectual and vernacular art, between aesthetic culture and plitical culture. The cnditins evidenced by the presence f such discussins intensify the stress prduced by inadequacies in educatin and funding. Purpse

10 Stress frm prblems with funding, educatin, and values tend t prduce shrt-term slutins that prmte the use f art as a supprt fr ther activities. While art exists fr its wn sake, it can als be used fr cmmerce's sake, fr leisure and recreatin's sake, fr plitics' sake, fr religin's sake, and s frth. "Art fr art's sake" has a lw pririty in the American scheme f things because mst Americans acquire sufficient knwledge and skills t deal with the arts intellectually. While cnnectins amng the study f math, the develpment f technlgy, and the health f ur ecnmy are cmmnly understd, the cultural parallel is lst t all but a few individuals. Cnnectins amng the rigrus study f ne r mre f the arts, the develpment f individual culture, and the health f ur civilizatin are t abstract. Thus, t mst Americans, the arts seem valuable nly t the extent that they cntribute t the mst superficial enjyment f leisure time. Wrking definitins abut the purpse f art are nt nly generated by values abut cntent, educatin, and funding, but are significant generatrs f peratinal plicies abut cntent, educatin, and funding. The cycle f influence selfregenerative r self-destructive depending n the values at its center. T the extent that the fundamental purpse f art is understd as the creatin and presentatin f art itself, stress n the arts enterprise is lessened. T the extent that art is cnsidered primarily a means fr supprting ther agendas, stress is intensified. Internal Stresses The structure f the natinal arts enterprise is als subject t intemal stresses resulting frm tensins between and amng its varius elements. These intemal stresses are nt necessarily bad; demcratic scieties thrive best when there is sufficient tensin t prduce rigrus analysis and infrmed debate as agents f imprvement. On the ther hand, an inrdinate amunt f intemal stress can render any system ineffective. Thse cncemed abut the prductivity f the arts enterprise must wrk cnstantly t keep intemal stress at a healthy level. Present intemal stresses riginate primarily frm strategies and tactics emplyed by the creatin/presentatin, educatin, and supprt elements t deal with the extemal stresses utlined abve. T date, the plans f each element have been neither sufficiently debated nr crdinated with thse f the ther elements t ensure mutually supprtive appraches and verall imderstanding f the rles each element shuld play. This lack f crdinatin cntinues t prduce a series f emerging cnflicts ver apprpriate directins fr cultural plicies as they are develped and practiced at lcal, state, reginal, and natinal levels. Institutinal Rles Each f the three elements f the natinal arts enterprise is highly institutinalized. The creatin/presentatin element is represented by rganizatins f creative artists and presenting institutins, museums, and perfrming arts centers. The educatin sectr is represented by thusands f institutins and by rganizatins f prfessinal teachers and administratrs. The supprt sectr is represented by rganizatins at all levels, many f which fcus primarily n funding. The cntext in which the American arts enterprise perates tends t engender institutinal prtectinism. Perhaps fears abut financial supprt are the mst pwerful energizers f the prtectinist impulse. In an imder-fimded field, the tendency t prtect what influence, visibility, and sustenance ne has becme paramunt. Hwever, this prtectinist stance tends t generate mypic precepts that discurage participatin in cmmn effrts. Frtunately, ur natinal capabilities are such that ne element f the arts enterprise need nt attempt t undertake the basic respnsibilities f ther elements. Rather, all elements shuld cmbine their strengths t expand active participatin in arts activities. Cperatin rather than prtectinism is in the best interests f art; it is als the best lngterm slutin t chrnic financial prblems. Funding Surces

11 Internal stresses are als generated by the debate ver wh shuld fund creatin/presentatin and educatin in the arts. Traditinally, funding creatin and presentatin has been the primary respnsibility f the private sectr. In the last twenty years, gvernment has becme invlved. Educatin in the arts has been funded by a cmbinatin f private and public surces since the establishment f public schls, clleges, and universities. Sme argue that gvernment at all levels shuld take a greater rle in funding the arts whereas thers wny abut relatinships between gvernment funding and gvernment cntrl. There is als discussin abut the apprpriate rle and purpse f private sectr funding. T what extent shuld the arts be supprted exclusively by users? T what extent shuld tax plicies encurage individual and crprate supprt f art activities? Disagreements abut these questins may be fund at every level f scial rganizatin. Wherever they appear, they have the ptential t mve beynd the level f healthy debate and generate tremendus cntinuing tensin, especially since they are s clsely related t the prtectin f institutinal interests. Public Relatins Cntent Hw shuld the creatin and presentatin f art and educatin in the varius arts be explained and prmted t the American peple? Clearly, prmtinal effrts must be related t funding surces and institutinal images. Yet, wrks f art and educatin in the arts disciplines are nt the same as cakes f sap. The value system necessary fr achieving the highest cultural aspiratins is damaged when matters f art are treated with advertising techniques fcused nly n cmmercial results. Stress als develps then the public relatitis effrts f ne element f the arts enterprise cnflicts with the peratinal mde f anther element. Fr example, prmters f artists ften fear teachers' emphasis n the intellectual nature f art. Prmters see a strng cnnectin between "intellectualism" and lss f bx ffice. Cnversely, teachers fear the public relatins effrts f prmters. Hype that reinfrces an arts and leisure cnnectin r that fcuses n persnalities rather than wrk seems incnsistent with develping public understanding f the need fr serius arts educatin. Such tensins need nt becme destructive; hwever, regular interchange n prmtinal questins amng varius elements f the arts enterprise is essential. K-12 Arts Educatin Struggles ver the structure and cntent f K-12 arts educatin prduce situatins where institutinal prtectinism and cnceptual debates based n shrt-term ecnmic needs ften rise t cunterprductive levels. The basic philsphical split is between (a) thse wh demand that arts educatin be serius, rigrus, and sequential, be grunded in the study f specific arts disciplines, and result in knwledge and skills which are testable, and (b) thse wh believe that the nly practical way t achieve arts educatin is t prvide as many students as pssible with arts experiences. Tremendus weight has been given t the experiential side f the debate by actins f gvernmental arts agencies and their grantees. Arts agency supprt fr artist residencies has been pwerfully prjected n the public cnsciusness t the pint that sme plicy makers have accepted them as a satisfactry substitute fr curriculum-based educatin. Arts agencies have neither the funds nr the legislative mandate fr arts educatin, but neither have they r their grantees prvided sufficient testimnial supprt fr the maintenance f discipline-based prgrams as regular parts f the schl curriculum. The legacy f this plicy is tremendus tensin between the mainstream arts educatin establishment and the institutins and rganizatins in the supprt sectr f the American arts enterprise. Frtunately, this unhealthy level f stress has been nticed at high levels in the supprt sectr and by many arts agencies themselves. Changes fr the better nw seem pssible fr the first time in tw decades. Higher Educatin

12 The American arts enterprise in higher educatin is bth large and significant ~ large because it invlves many thusands f peple and millins f dllars, and significant because it serves s many varied functins essential t the peratin f the arts in American sciety. Higher educatin is the place where bth prfessinal artists and prfessinal teachers f the varius arts receive advanced educatin and raining. Higher educatin prvides arts educatin and training. Higher educatin prvides arts educatin fr cllege student. Institutins f higher educatin are the centers f arts activities in many cmmunities thrughut the United States. Higher educatin is the lcatin f mst schlarly research related t the arts. Even with all this respnsibility and capability, there is n cmmnly accepted psitin fr higher educatin with respect t its strategic plicy rle in the natinal arts structure. Many see higher educatin as simply anther market fr the presentatin f wrks f art, ther see higher educatin as a place t fulfill current and future wrkfrce needs, and sme see higher educatin as having a majr rle in the educatin and training f prfessinal artists and teachers f the arts. In ther wrds, mst individuals see higher educatin in primarily a service rle. While this rle is paramunt, higher educatin is in neither mre nr less f a service rle than ther elements f the arts enterprise. Therefre, the arts cmmunity in higher educatin must becme a strategic planning partner in arts plicy develpment. This will reduce current tensins and increase capabilities fr the arts enterprise as a whle. American Wrk T many Americans, the wrd "art" cnntes great masterpieces f the past created by smene frm anther cuntry. Hwever, every masterpiece was nce seen r heard fr the first time, and nt always t critical acclaim. In additin, there are may American masterpieces. If American art is t cntinue as a healthy and thriving enterprise, new American wrks must cntinue t be seen and heard fr the first time by many audiences. American masterpieces must als be accrded regular presentatin. The place f American art in ur natins' value system is a surce f extreme stress, the extent f which ften ges unrecgnized. Present cnditins are intrinsic t the free market nature f nn-prfit arts activities in the United States. This market prduces unique prblems fr the perfrming arts because f the particular nature f their supprt and funding mechanisms. T munt a new r unfamiliar wrk fr perfrmance mst ften represents a significantly greater investment than shwing a new f imfamiliar wrk in the visual r plastic arts. Hwever, ur cncem ges far beynd mere ecnmics t the develpment f greater understanding amng American abut the nature f art itself. If art and artists always seem t cme frm smewhere else, the lng-term effect is a general perceptin that art is nt really "American." Frtunately, sme far-seeing grups in the presentatin and supprt sectrs have jined higher educatin in addressing this prblem. Innvative prgrams fr building public acceptance f American artists and wrks f art are increasing. All elements f the arts enterprise must find ways t cntinue this favrable trend. Plicy Develpment The greatest intemal stresses within the American arts enterprise are generated by disagreement ver respnsibility fr plicy develpment, whether fr the arts enterprise as a whle r fr the varius elements within it. This debate has intensified with the grwth f gvernmental arts agencies during the last thirty years. Arts agencies were established and cntinue t perate under legislatin which describes their rles as supprtive rather than directive. Hwever, mst arts agencies have gne beynd their riginal mandates t serve as fundatins supprting the creatin and presentatin f art. While such supprt remains at the center f their activities, arts agencies have increasingly cncerned themselves with brader cultural plicy issues. Many see this as psitive. They pint t the imprtance f gvernmental plicy influence alngside that f the private sectr, and reiterate that the symblism f gvernment supprt prvides particular public relatins and funding benefits fr the arts in general. Others are nt s sure. The specter f a gvernment cntrlled arts enterprise by even the mst friendly establishment f funding patterns and plicy initiatives trubles them, especially since the United States has specifically avided any kind f centralized mechanism fr cultural

13 develpment. Bth sides in this debate agree that gvernment has far mre influence n arts plicy than its financial cntributin warrants. Bth sides als recgnize the natural tendency f any rganizatin, whether gvernmental r private, t prduce an image f superir expertise and cmpetence in the public mind as a means f expanding its pwer and influence. It wuld be flish t expect arts agencies t be free f this human inclinatin. Thse with strng prgvemment view argue that external stresses n the American structure fr the arts are s threatening that uncritical acceptance f a large gvernmental rle in cultural plicy develpment is the best peratinal alternative. Their intellectual ppnents cunsel mre reliance n the private sectr expressing cncern that a large gvernment presence will, at best, fcus attentin n the plitics f funding rather than the cntents f art and, at wrst, stultify the creative prcess. Clearly, maintaining a private/public balance in plicy develpment is essential. In the present plitical climate, cntinuing t advcate increased reliance n gvernment fr primary leadership in arts plicy develpment will increase internal stress n the arts enterprise. Such a directin culd als result in severe external stresses: the American peple culd eventually becme even mre cncerned abut the extent f gvernment invlvement in cultural matters and the resultant backlash culd be severely damaging t the cncept f public supprt and all the psitive benefits it has brught. Frtunately, the demcratic traditin f critique and debate has begun t address these and ther plicy questins. All elements f the arts enterprise are entering this debate. The result is fresh attentin t plicy issues far beynd the rle f gvernment. Fr example, there are serius discussins abut the respective rles f artists and trustees in develping plicy fr the presentatin rganizatins. There is increasing debate abut the strategic rle f the educatin sectr in plicy develpment, nt nly cncerning matters f educatin, but with creatin/presentatin and supprt issues as well. There is als discussin abut the extent t which arts plicy develpment, whether gvernmental r nngvernmental, shuld be centralized and abut the balances necessary t enhance natinal capabilities while retaining the principle f lcal cntrl. These issues require new, imprved patterns f plicy develpment utilizing resurces frm the three basic elements f the natinal arts enterprise.

14 Synchrnizatin PART IV NEXT STEPS The gal f a greater place fr art in the United States can nly be achieved by imprved cperatin. Given the nature and extent f external stresses n the American arts structure, it is essential t develp as many wrking relatinships as pssible amng individuals and rganizatins cncerned with matters f art. A majr cncern must be t keep tensins amng the creatin/presentatin, educatin, and supprt elements at healthy levels which prduce the leavening agent f debate essential t successful enterprises in free scieties. Frtunately, the American arts cmmunity has the persnnel and the resurces t accmplish all these bjectives. It is nt clear at present what values will gvern future develpment f the natinal arts enterprise. The three fundamental ptins are t rely primarily n (1) prmtin art as a cmmdity; (2) management technique art as an ecnmic and rganizatin prblem; r (3) educatin art as a grup f intellectual and physical disciplines. The arts enterprise cannt survive withut sme use f each f these appraches, but the particular distributins f weight and balance amng them will prduce quite different futures. Rather than a prmtin-based future, a management-based future, r an educatin-based future, what we shuld be seeking is an art-based future. T achieve this, it is essential t begin by persuading all cncerned t develp greater understanding f the cmpsite structure f the American arts enterprise and the vital interrelatinships amng its elements. Naturally, the Wrking Grup n the Arts in Higher Educatin wrries mst abut teaching and learning, recgnizing the clse relatinship between success in arts educatin and successes in creatin/presentatin and supprt. Therefre, the Wrking Grup and the educatinal institutins it represents wish t sustain and enhance effrts f the creatin/presentatin and supprt elements in every way pssible. Hwever, the Wrking Grup is cncerned abut the cntinuing ersin f public supprt fr rigrus, curriculum-based educatin in the varius arts. The Wrking Grup is alarmed that many cmmunities have seen fit t reduce schl-based arts prgrams, ften with n real ppsitin frm prminent arts presentatin rganizatins, arts agencies, and thers in the supprt sectr. The Wrking Grup is cncemed abut a cntinuing tendency t discuss arts plicy nly in ecnmic terms, and shrt-term ecnmic terms at that, the Wrking Grup is als cncemed abut the pervasive use f prmtinal strategies that fcus exclusively n the entertainment value f art and artists with little attentin t the cntent f art r its value as an intellectual cmpetence fr each individual. Lcal Actin The Wrking Grup des nt prpse r envisin the need fr sme federal r natinal presence t deliver slutins t these prblems. The basic stmcture f the arts in the United States with its three interrelated elements and lack f central cntrl seems perfectly apprpriate fr a demcratic sciety. Althugh federal r natinal grups can be helpful, synchrnizatin and grwth are mst prbable when the fcus is n lcal actin. T achieve such lcal actin, changes f philsphy and values are needed since philsphy and values generate the public cntext fr making, teaching, and presenting art. Frtunately, there is evidence that such changes may be pssible: the current serius md f the American peple, new levels f cmmitment in the arts educatin cmmunity, and revised philsphical directins in certain fundatins and arts agencies are encuraging. Fresh lks at intemal and extemal stresses indigenus t the arts enterprise seem mre pssible nw than at any time during the last thirty years. The Wrking Grup finds such cnditins healthy and ptentially prductive. The stakes are t high fr elements f the American arts enterprise t remain as separated as they are at present.

15 Each American cmmunity nw has significant resurces t pursue significant bjectives fr art and educatin in the arts disciplines. Artists, teachers, fimders, administratrs, and their rganizatins are all hard at wrk. While funding will cntinue t be a prblem, the Wrking Grup recmmends that funding cnsideratins be placed temprarily in the backgrimd fr the purpse f analyzing whether the best appraches t cultural develpment are being imdertaken with present resurces. Therefre, the next step is the develpment f imprved mechanisms fr analysis and actin primarily at lcal and state levels, but als at reginal and natinal levels. These mechanisms must result in new appraches t partnership invlving n an equal basis representatives fi-m rganizatins cncerned with creatin/presentatin, educatin, and supprt. While each element must maintain sufficient autnmy t carry ut its essential functins, wrk must prceed t determine hw the varius elements can be mre mutually supprtive. Everyne must think cnstantly f the larger picture, remain sensitive t the need fr strength in all three elements, and believe that lng-term prgress is pssible. Analytical Questins Several questins seem essential as means fr begiiming these discussins: Are ur aspiratins fr achievement in art and arts educatin sufficiently high? T what extent are they centered in artistic values invlving a fusin f emtinal and intellectual bjectives? D ur peratins reflect sufficient attentin t the symbitic relatinships amng the creatin/presentatin, educatin, and supprt elements f the arts enterprise? Are ur evaluative criteria sufficiently centered n artistic values and educatinal accmplishment? Are ur evaluatin appraches apprpriately balanced between the qualitative and the quantitative? Hw can mre be dne t ensure that rigrus educatin in at least ne arts discipline is prvided t every student in the K-12 age grup s that increasing numbers f Americans can respnd t art intellectually as well as emtinally? 0 What new cperative initiatives are pssible t prvide greater access t wrks f art fr mre individuals? Cnclusin Hw effective are we in demnstrating t the public ur supprt fr and cncern with American art bth past and present? T what extent are we successful in keeping prmtin, management, ecnmic, and educatinal techniques in the service f art rather than the reverse? Are ur public relatins effrts sufficiently mnitred fr their ptential impact n cnditins necessary fr the wrk f each element f the arts enterprise? Hw apprpriate is the balance that has been achieved between prmtin and substance? T what extent d present plicy develpment mechanisms used within and between elements reflect the need fr cnstant attentin t the cmpsite needs f the arts enterprise? Is ur plicy wrk sufficiently hlistic t ensure the steady grwth f public understanding and cmmitment necessary t supprt quality arts and arts educatin activities? The questins psed abve are difficult. Yet, cmmn effrts t answer them in lcal, state, reginal, and natinal

16 setting can prduce the cntext fr new means f cperatin and mutual supprt. Such effrts represent the best apprach t imprvement fr all elements f the arts enterprise. Ptentials fr the varius arts in the United States are mre than sufficient t justify ur gals fr higher civilizatin. These ptentials are already evident in the wrk f American artists, presenting rganizatins, educatinal institutins, and thse wh supprt them. The Wrking Grup suggests that a search fr brader visin, readjustments in pririties, and greater cperatin amng the varius elements f the arts cmmunity can imprve bth the prductivity and the viability f the arts in the United States. The time culd nt be better. Let us begin in each cmmunity f the land.

17 The Wrking Grup n the Arts in Higher Educatin is a cperative prject f Natinal Assciatin f Schls f Music, Natinal Assciatin f Schls f Art and Design, Natinal Assciatin f Schls f Theatre, Natinal Assciatin f Schls f Dance, and Internatinal Cuncil f Fine Arts Deans. These rganizatins represent the academic and administrative leadership f ver 1,000 pstsecndary schls and departments prviding prfessinal educatin and training t artists and teachers f the arts as well as arts instructin fr all cllege students. SEPTEMBER 1986 Any rganizatin r instimtin is encuraged t reprduce this publicatin in its entirety in quantity sufficient fr its wn use, but nt fr sale.