This qualitative study found that medium users have distinctly different attitudes toward the arts than light users. The report offers extended psychographic descriptions of these two consumer groups. Paired with the demographic information already known, it will assist arts groups of all types to target new audience members who have a favorable attitude toward increasing their arts participation.

The 12th annual Nancy Hanks lecture on arts and public policy, presented by the American Council for the Arts, at the John F. Kennedy Center for the Performing Arts, Eisenhower Theater, Washington, DC, March 15, 1999. The transcript is from the lecturer's talk, Wendy Wasserstein.

I write to praise home-grown, local art - the kind of art that typically gets little respect, the kind we Americans have traditionally felt could not be as good as anything that comes in from out of town. I also write to make a case for the positive and important role local art can play in regular, sequential dance education at the K-12 level. This article grew from an exchange that I recently had while defending a grant proposal, an experience that made me think through my ideas about American culture and the preconceptions and indifference the arts regularly encounter on a local, everyday

This article explores why estimates of arts participation in America diverge dramatically. It focuses on two similar surveys - the General Social Survey (GSS) and the Survey of Public Participation in the Arts (SPPA) - that produced very different estimates of attendance at museums, classical music concerts and dance performances. Comparing the design of each survey, this paper examines several possible explanations to account for the divergent estimates, including sample composition and selection bias, question wording and context, and survey design.

While this year's Theatre Facts once again provides an analysis of the financial, attendance and performance activity of nonprofit theatres in America, there is a key difference. For most theatres, the 1997 figures can not be compared to those of years past. The focus of the 1997 survey has shifted from operating funds to all unrestricted funds to verify financial data with audits, in keeping with the new Financial Accounting Standards Board (FASB) reporting standards.

The Arts and Culture Indicators in Community Building Project (ACIP) was initiated in 1996, with the support of the Rockefeller Foundation. It was conceived as a dimension in the Urban Institute's National Neighborhood Indicators Project (NNIP) as an exploratory and experimental effort intended to develop arts and culture-related neighborhood indicators. To this end, the project has undertaken several reconnaisance efforts which have sought to provide a better understanding of (1) the presence and role of arts and culture in inner-city neighborhoods and community-building contexts and (2)

The cultural policy community has focused most of its time and energy on the not-for-profit arts, with minimal attention paid to the commercial arts. Recently, another sphere, named the unincorporated arts, has taken on increased scrutiny. As defined by the American Assembly report, the unincorporated sector covers a range of citizen arts - community, avocational, or folk arts, the indigenous arts in their many manifestations.(1997, 10).

This study contains summaries, critical reviews, and access information for 25 studies of public participation in the arts, as well as a chart enabling readers to indentify surveys that contain particular combinations of variables in which they are interested

This annual survey of a representative group of nonprofit theatres was known as the TCG fiscal survey in 1974, 1975, 1976; the TCG survey in 1977, 1978, 1979, 1980; and as Theatre Facts since 1981. Theatre Facts also appears as a supplement to American Theatre magazine, usually in the April issue.

The arts can flourish in democracy but have often developed with remarkable vibrancy as part of a culture of dissent or rebellion in autocratic societies. Democracy needs the arts (and the humanities which they anchor), for they constitute a crucial element in civil society's cultural infrastructure. Yet the democratic impulse has sometimes found itself at odds with artists and felt threatened by the avante garde or anti-majoritarian or the aristocratic in culture. (from abstract)