Profiles 17 visual and performing arts programs and describes the positive impact on both the residents and facilities in public housing communities. Written with housing residents, local arts agencies, housing agency staff, and other practitioners in mind, the handbook clearly describes the goals of each program, how the program services are delivered, sources of funding, and characteristics of the program which can be adapted to address the needs of other communities.

This compendium presents a broad collection of more than 50 arts programs that address community development issues across the country. Violent crime, local economic conditions, youth and gang crime, unemployment, quality of education, family stability, and racial and ethnic relations continue to rank among the top ten key concerns for our nation's civic leaders. As communities seek solutions to these problems, they are increasingly turning to the arts to provide answers.

This paper reports on a study of past and present sources of financial support for artists in the , makes observations about study findings, and recommends directions for future action. The study had its origins in a series of meetings and conversations about support for artists that took place in September 1995. The impulse for the meetings was, in large part, a response to changes in the ability of the National Endowment for the Arts to support artists. Of special concern was Congressional action that prevented the NEA from making grants directly to artists in most disciplines, combined with

CONTENTS
About NALAA's Institute for Community Development and the Arts.
Introduction - The Arts Build Communities.
NALAA's Institute for Community Development and the Arts: First Year Report. Youth-at-Risk.
Quality of Education.
Crime Prevention.
Housing and Neighborboods.
Strengthening Families.
Cultural Tourism.
Jobs and Economic Development.
Innovative and local funding.
Building America's Communities: a symposium on arts and community development. What is a local arts agency?
Art statistics.
Index of profiled programs.

This paper addresses a small but crucial aspect of research on arts organizations: how to define a sample frame, based upon which one can collect data generalizable to the population of cultural organizations as a whole. Researchers undertook case studies in three metropolitan areas: Philadelphia, Minneapolis/St. Paul, and Dallas/Fort Worth. They compiled, as complete as possible, a list of arts organizations based on printed sources and information from local citizens familiar with the nonprofit arts community. Then, they examined the extent to which different approaches to developing a

...what follows is an attempt on behalf of the Michigan Council on Arts and Cultural Affairs, to explore our quality of life and its ties to the twenty-six anchor organizations the Council has recognized as State-wide cultural resources. Our goal is to determine how the lives of Michigan's citizens are affected by the activity and presence of these organizations, and determine if the organizations are, in fact, doing what they do out of a vision that is similar to the perceptions of their patrons.

An examination of the public's expressed opinions about the arts would seem to be an integral part of any discussion of desired public policy on the arts, public support for current and potential policies, and the public's understanding of the current state of the arts in America. Nevertheless, little if any attention has been paid by the arts policy community to polling data on the arts. Perhaps Tocqueville is correct and Americans have little use for the arts, let alone a public policy on the arts. The only way to discern this is to examine the questions that have been asked about the

In recent research, anthropologists and historians have demonstrated that tradition and culture are not fixed entities passed on unchanged over generations. Rather, they are continually modified to meet contemporary sociopolitical circumstances. Surprisingly, these concepts have not been formally applied to the single most visible western theatre of culture and tradition - the museum. At least since the nineteenth century, museums and cultural exhibitions have been perhaps the most visible and active modifiers of culture and tradition. Ethnographic museums actively contribute to the

Iwona Irwin-Zarecka, associate professor of sociology and anthropology at Wilfred Laurier University in Ontario, zeroes in on the meaning of such a crossing in her reaction to the modern day digital recording and manipulation of photographs. As Professor Irwin-Zarecka warns, once the information about the basic parameters of each of these elements is digitally written in computer code, it can be rewritten at will. Whether the original consists of an actual photo, a computer-generated invention, or both, it becomes much like clay in the artist's hands. Thus the whole idea of a photograph's

On July 29, 1994, New York City Mayor Rudolph Giuliani and New York State Governor Mario Cuomo announced a joint $10 million City and State matching grant program directed at New York City's arts and cultural organizations. The program came to be known as the Cultural Challenge Initiative (herein referred to a CCI). Seven months in the making, CCI represented the first joint collaboration between the City and State arts agencies specifically designed to benefit New York City's arts and cultural sector. The combined $10 million infusion of new public moneys was meant to encourage private