Promoting Public and Private Reinvestment in Cultural Exchange ...

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Types of Exchange: Performances and Productions Presented Through Festivals Attract TheMost GrantsTypes of ExchangeType# of GrantsGrants by Type as a% of Total GrantsBiennale 5 .99%Exhibitions 72 14.31%Conference/Seminar 53 10.54%Festival 130 25.85%Residency/Fellowship 68 13.52%Performance/Production/Touring 112 22.27%Workshop/Training 63 12.53%Totals 503 100.01%July 2007The majority of grants for international arts and cultural exchange, for which a purpose could beidentified, were in support of performances or productions, usually presented through festivals orexhibitions. Because these categories of exchange overlap to such a high degree, we haveaggregrated the data. Collectively, these categories account for 62.43% of our total. Generallyspeaking, practitioners believe these types of exchanges offer fewer opportunities for meaningfulengagement. 95 In contrast, some 26.05% represent more in-depth interactions that occur throughresidencies, fellowships, workshops, and training, while another 10.54% were in support ofconferences or seminars.Other engagement techniques, such as ―embedding,‖ which involves the placement of an artist in acommunity for an extended period of time where he or she can interact with local artists andaudiences, were not reflected in the grant descriptions recorded in the Index. Embedding isbelieved to produce a richer experience for all because the artist interacts with many people on adeeper level. In the past, the U.S. government provided support for long-term residencies thatlasted for up to one year. However, most current government-sponsored residencies andengagements through Arts in Embassies or various kinds of public-private partnerships last for twoto three weeks, at best.It should be noted that several of these exchange activities may occur during the same engagement,a practice referred to as ―layered engagement.‖ Many practitioners in both the public and privatesectors believe that layered engagement creates opportunities that may result in dialogue, betterunderstanding, and the chance to develop lasting relationships that can be sustained over time.Examples of organizations that practice layered engagement include Battery Dance Company,Independent Curators International and Cultures in Harmony.95 ―International Programming and Cultural Exchange Survey, 2009,‖ Robert Sterling Clark Foundation, series onCultural Engagement.38
Size of Recipients: Larger and More Established Organizations Command the Greatest ShareMillion Dollar Recipients of Support for DirectInternational Arts Exchange, 2003-2008Rank Rank# ofby $ by # Recipient NameGrants Amount in $1 2 Asia Society, NY Total, 2003-2008 33 $11,431,0002 27 National Gallery of Art Total, 2003-2008 6 $5,717,0003 9 Asian Cultural Council Total, 2003-2008 12 $4,230,0004 213 National Performance Network Total, 2003-2008 1 $3,527,1865 43 WONDERS: The Memphis International Cultural Series5 $3,150,000Total, 2003-20086 28 Sundance Institute Total, 2003-2008 6 $3,105,0007 60 Blakemore Foundation Total, 2003-2008 4 $3,000,0008 6 Russian Arts Foundation Total, 2003-2008 14 $2,591,5509 85 Institute of International Education Total, 2003-2008 3 $2,490,95510 7 China Institute in America Total, 2003-2008 13 $2,320,77611 1 CEC ArtsLink Total, 2003-2008 55 $2,268,70012 3 French American Cultural Exchange Total, 2003-2008 24 $1,575,00013 29 Museum of New Mexico Foundation Total, 2003-2008 6 $1,471,00014 10 Center for International Theater Development Total, 2003-2008 11 $1,400,00015 22 Theater Communications Group Total, 2003-2008 7 $1,280,00016 118 Solomon R. Guggenheim Foundation Total, 2003-2008 2 $1,275,00017 30 Foundation for French Museum Total, 2003-2008 6 $1,225,00018 8 Bard College Total, 2003-2008 13 $1,068,90019 14 Irving S. Gilmore International Keyboard Festival9 $1,051,300Total, 2003-200820 4 New Haven International Festival of Arts and IdeasTotal, 2003-200820 $1,042,500November 2009In the table above, many of the top recipients of support are major U.S. arts institutions (AsiaSociety, National Gallery of Art and the Sundance Institute). Other recipients are not only largebut have been engaged in a variety of international activities in addition to the arts. These arefrequently supported by foundations that fund internationally in specific regions of the world andinclude organizations such as The China Institute, The Russian Arts Foundation, and FrenchAmerican Cultural Exchange. Still others, including the Asian Cultural Council and CECArtsLink, have been in the business of operating exchange programs for decades, and haveestablished strong track records in the field. Thus, it appears that foundation support accrues to artsand cultural institutions that are prestigious, have long track records, and are more traditional intheir roles as presenters and educators. In some cases, the recipients listed above received fundsthrough U.S. foundations established by foreign governments to promote their arts in the UnitedStates.Despite minimal collaboration between sectors, government and foundation investments ininternational cultural engagement exhibit many of the same patterns. While there were somefamous partnerships in the days of USIA, most notably Arts International, there has been littlecollaboration in recent years. The new public-private partnerships initiated by the CulturalPrograms Division of the Bureau of Educational and Cultural Affairs may provide opportunitiesfor new faces in the philanthropic world to partner in shaping the cultural diplomacy of tomorrow.39
Page 1 and 2: Promoting Public and Private Reinve
Page 3 and 4: Table of ContentsPageI. Introductio
Page 5: “The artsare what we find againwh
Page 8: While the federal government has pr
Page 11 and 12: AcknowledgementsThis publication ha
Page 13 and 14: Making the Case for Cultural Exchan
Page 15 and 16: While there have been relatively fe
Page 17 and 18: Trends in U.S. Public Support for A
Page 19 and 20: September 11, 2001, the world‘s p
Page 21 and 22: Creation of Public-Private Partners
Page 23 and 24: Public Diplomacy and American Embas
Page 25 and 26: of 1948. This legislation establish
Page 27 and 28: Key Uses of U.S. Strategic Communic
Page 29 and 30: Fragmentation of Public Diplomacy P
Page 31 and 32: Absence of a Reporting Relationship
Page 33 and 34: Models of Cultural DiplomacyForeign
Page 35 and 36: (24.1%), Middle East (21.3%), Asia
Page 37 and 38: 2. Collaborating with foundation ex
Page 39 and 40: Few Foundations Provide Meaningful
Page 41 and 42: Disinvestment in the Field Over Tim
Page 43: Disciplinary Distribution: Foundati
Page 47 and 48: Lincoln Center for the Performing A
Page 49 and 50: Opportunities for Private Sector In
Page 51 and 52: 3. Members of each consortium would
Page 53 and 54: is building a comprehensive searcha
Page 55 and 56: Appendix Apreferences of others ―
Page 57 and 58: Appendix Bsupport of direct interna
Page 59 and 60: Research ChallengesAppendix CBackgr
Page 61 and 62: Selected Large U.S. Performing Arts
Page 63 and 64: Appendix DMeeting on Cultural Excha
Page 65 and 66: Foundation Grantmaking Classificati
Page 67 and 68: Appendix FA Snapshot of Giving forD
Page 69 and 70: Appendix FRank by $Million Dollar F
Page 71 and 72: Appendix F2004 Foundation Supporter
Page 77 and 78: Appendix F2003 Recipients of Suppor
Page 83 and 84: Appendix GU.S. PUBLIC AND CULTURAL
Page 85 and 86: 2003ContinuedAppendix GLegislation
Page 87 and 88: 2005ContinuedAppendix GLegislation
Page 89 and 90: 2007ContinuedAppendix GNovember - C
Page 91 and 92: 2009ContinuedAppendix GPhilip Seib
Page 93 and 94: Appendix HAdrian EllisExecutive Dir
Page 95 and 96:
Appendix HStanley PlesentFormer Gen
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