Working Relationships profiles only a few of the arts and education institutions across the country that are working together to solve community problems. Written with arts practitioners, educators, and policy makers in mind, [this book] describes both established programs and new initiatives among local arts agencies, schools, school districts, community organizations, and parents. A collection of good examples rather than an inventory of model projects, programs were chosen for their ideas and positive track records or potential for long-term impact, plus diversity in size, setting and scope

Policies of the government have had an impact on the nation's literature and other forms of art since the founding of the Republic. Yet until the 1960s, at least, the indirect effects of policies designed primarily for other purposes often had a greater influence on the arts world than did government actions which were consciously designed for their impact on the arts.
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In the nearly three decades since the establishment of the National Endowment for the Arts, the political dynamics and focal issues of federal arts policy have changed considerably. Initially, arts policy developed as a relatively simple distributive policy subgovernment focussed on increasing financial resources for the NEA and, through it, to the arts constituency. During the 1970s, this distributive subgovernment matured into a stable system, characterized by low visibility issues and cooperative relations among its triple alliance partners - the arts community, the NEA and its

Indirect, sporadic, narrow and tentative. Historically, this has characterized the commitment to culture and the arts of the government. Only in 1965, amidst lofty sentiments, worthy intentions and some trepidation, did the federal government begin a very modest program of ongoing support for arts and humanities activities with the establishment of the National Endowment for the Arts and for the Humanities. During the subsequent three decades, over three billion dollars were appropriated to the National Endowment for the Arts (NEA) to foster the nonprofit arts in America and to expand arts

In a life of many achievements, Sam Lipman held fast to basic principles, work habits and expectations central to high civilization. Readers of this journal were familiar with Sam Lipman's powerful arguments. It is fitting to close this tribute with his own words. First, a Credo, that itself closes an article entitled The NEA: Looking Back and Looking Ahead, and second, the last paragraph of an article entitled Redefining Culture and Democracy.

Several arts and community-related studies have been done by Louis Harris, including several versions of Americans and the Arts for the American Council for the Arts. For each study listed, there is information on its purpose, the sample used for the study, dates of the interviews, and the client or who to contact for further information.

State lotteries have become an increasingly popular way of raising new resources for government programmes, particularly since the proven spectacular success of Lotto games. It is not uncommon for the state to promise that the revenues from these lotteries will be used for good causes, partly out of a genuine desire to provide additional public resources to certain sectors of society and partly because of the politics that are necessary to develop support for a lottery as a form of government activity. This political argument has two elements: to encourage political support of the idea of a

The relations between art and commerce often appear overwhelmingly skewed in favor of nonaesthetic considerations. There is a sense that the powerful forces embodied in modern commercial enterprises subvert or contaminate aesthetic practices and products (particularly through effects on funding and the art market). Indeed, in one version of the high culture model, the artistic field has been presented as an autonomous universe of belief, a kind of coin de folie or corner of madness all its own, divorced from politics and economics by its very nature (Bordieu 1980 and 1993, 164). Few go as

This chapter describes Project BRIDGE, a program in Texas supported by the Texas Commission on the Arts, that provides opportunities for creative expression and development to residents of housing projects.

A field guide is designed to help you identify the unfamiliar. This is different. It begins with what you already know something about, your own community, and encourages you to take a closer look.