Promoting Public and Private Reinvestment in Cultural Exchange ...

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II. Foundations Should Develop Partnerships with the Corporate Sector toLeverage Corporate GivingA. Large foundations should encourage business and trade organizations to sponsormeetings or conferences to enable their corporate constituents to learn how culturalengagement can advance international trade. The largest of these organizations includethe Conference Board, the Committee to Encourage Corporate Philanthropy, the AspenInstitute Program on Business and Society, the Business Council on InternationalUnderstanding, Business for Diplomatic Action and the U.S. Chamber of Commerce. Mosttrade organizations have divisions or committees that address philanthropic issues. Asmany companies have corporate philanthropy programs, presentation of arguments tosupport international arts engagement to promote international corporate objectives wouldlikely reach a receptive audience.B. Smaller foundations active in this field should support or work with intermediariessuch as Americans for the Arts to help connect them with business organizations suchas those listed above with the objective of promoting partnerships in support ofinternational cultural engagement. Americans for the Arts, the largest arts advocacyorganization in the country, has developed strong relationships with these and othercorporate trade associations. Support for advocacy and organizing around the issues ofinternational cultural exchange could result in the creation of an integrated network oforganizations to promote reinvestment in cultural exchange-based diplomacy.C. Interested foundations should support research on corporate advertising to identifycompanies interested in international engagement. For example, the Hyatt Hotel chainis currently running an ad that reads, ―It‘s much easier to see eye to eye when you see faceto face.‖ Perhaps this corporation and others that run ads reflective of their internationalbusiness acumen would be interested in providing support for international culturalprogramming.III. Partnerships Among Foundations Should be ExploredA. Grantmakers in the Arts should spearhead the development of “FoundationConsortia” that would serve to aggregate support for work in this field.1. By aggregating support, foundation participants could get a bigger bang for thebuck and could target their funding:a. by geographic location of exchange;b. by discipline;c. by type of exchange; andd. by any combination of the above.2. Foundation participants in consortia could be aggregated nationally or by city oforigin through local Grantmakers in the Arts affiliates.44
3. Members of each consortium would contribute funds on an annual basis to form acapital pool that would be made available to local arts organizations engagedinternationally. Members would determine the minimum level of support eachmember would be responsible for contributing; the guidelines that would prevail withregard to grantee eligibility; and would ultimately be responsible for selecting grantees.B. Grantmakers in the Arts should test its ambitions to become an “Arts Advocate” byhelping to establish “International Cultural Engagement” as an issue of importance tothe field.IV. Foundations Could Partner with Arts Organizations Involved inEngagement by:A. Providing support for U.S. touring companies that build transformative bilateralrelationships with overseas partners. Examples include:1. American Voices has produced more than 100 festivals, concerts, master classes, andworkshops in over 30 countries in the Middle East, Eastern Africa, and Latin America.Founded in 1992, its mission is to further the appreciation and understanding ofAmerican music and culture in countries that are isolated and lacking opportunities forcultural exchange and dialogue with the United States. The repertoire ranges fromBroadway, Choral, Opera, Jazz and Blues to youth culture favorites such as Hip Hopand Break Dancing. Contact between artists and audiences through workshops,collaborative performances and public events results in greater understanding.2. Battery Dance Company (BDC) has worked in over 35 countries where it hasperformed, taught and collaborated with international partners for more than 15 years.During this period, it has developed a network of contacts within the StateDepartment‘s regional bureaus; foreign contacts that facilitate touring; broadexperience in diplomacy and cross-cultural communication; and programmingmethodology that connects with foreign cultures and communities. These qualitiesenabled it to perform, teach and collaborate with international partners in 11 countriesduring 2008. Over the years, live audiences in the tens of thousands and televisionaudiences in the millions have been introduced to American modern dance throughBDC‘s performances.3. Independent Curators International (ICI) was created 35 years ago with the mission ofproducing and touring contemporary art exhibitions across the U.S. and throughout theworld. Since then, it has produced 116 traveling exhibitions that have profiled the workof 3,700 artists. This program has resulted in the development of a visual artsmembership network that includes 590 museums, art galleries and art centers in 48states and 25 countries. Today, ICI is expanding its international networks forcollaboration in contemporary art and exhibition practice with new programming thataccompanies its traveling shows. Project 35, an international survey of video works,and FAX, an evolving project of drawings sent throughout the world by fax, are bothexamples of interactive, expanding exhibitions with new contributions that can bereconfigured to suit a range of venues worldwide. This year ICI will use theseprograms to expand its networks in Latin America, Central and Eastern Europe andAfrica.45
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 and 44: Disciplinary Distribution: Foundati
Page 45 and 46: Size of Recipients: Larger and More
Page 47 and 48: Lincoln Center for the Performing A
Page 49: Opportunities for Private Sector In
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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