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).

The policy community, in the main, has been concerned with the subsidy of elite art forms and organizations that cannot pay their own way, primarily the not-for-profit arts. Commercial arts have been considered a part of the market economy, self-sustaining, and generally entertainment rather than art. They are the focus of students of mass media or popular culture, their own industry concerns, and economically oriented data collection efforts. Although avocational, community-based arts are prolific, they have been of marginal concern to date.

Refocusing on the arts as a broad sector has cast a wider net. Concern with the entire universe of arts participation compels us to learn more about the commercial and unincorporated arts, as well as the interrelationships among all three arts sectors. The unincorporated sector comprises participation (either casual or serious) in a wide range of arts activities, from folk and traditional to fine arts, utilitarian art forms, and popular culture.

They can be engaged in on an individual basis, in small informal groups, or within a legally organized entity. The venues for participation can range from individuals' homes to organizations such as religious institutions, community centers, private clubs, retirement communities, social service institutions, the military, and business organizations.

Although some documentation has been undertaken on unincorporated activities, most of it has been qualitative or anecdotal; very little counting has been done. As long as these activities remain unquantified, they are left out of our understanding of the arts sector and will remain invisible on the radar screens of policymakers. Yet, the individual and community impact of the unincorporated arts is substantial. They represent grassroots participation and involve a large number of Americans. Understanding the scope of this kind of artistic participation is essential to grasping the full and true import of the arts in American society. (p. 115, 116, 117).

CONTENTS--National statistics and the unincorporated arts. An example of Missing organizations: Chamber music ensembles. Arts as an avocational pursuit. What are the arts? Avocational arts: all of America is involved. Recommendations and conclusion. Notes. References.