This is a look at different types of patronage in Canada, US, and England up through 1970, look at the similarities as well as the differences.
Canada: Canada Council 1955
England: CEMA 1938
United States of America: 1965 NEA
"Patronage devices can be analyzed and evalu-ated more effectively when grouped into three categories: (1) those designed to aid arts organiza-tions; (2) those that assist individual artists; and (3) projects directly managed. The bulk of subsidy funds expended by each patronage body goes to organizations."
National Endowment policy normally precludes reliance upon general operations grants, while Canada and England support them.
If new audiences are to be won for the arts, it believes that it must underwrite programs specifically designed to appeal to youth. In 1969-70, awards in this category were made in four fields-music, opera, jazz, and theater.
If new audiences are to be won for the arts, it believes that it must underwrite programs specifically designed to appeal to youth. In 1969-70, awards in this category were made in four fields-music, opera, jazz, and theater.
Dispatch of art for exhibition to remote sections of the country is highly desirable. The sending of groups of performers in opera, theater, music, and ballet on tour to communities devoid of the professional performing arts can do much to diffuse the arts.
The above bolded statements reflect some flaws in the concept of government patronage that we are till dealing with in this country today. The following quote is from the introduction to Angels in the American Theatre. Robert A. Schanke
NEA defines art by it’s usefulness to society, “ causing funders to measure the value by outreach programs, children’s projects, etc. It is making art into a social welfare agency.. Large and small private foundations now give their money not to general support as in the past, but overwhelmingly to special programs conceived by the officers of the foundation.” Programs that might lead to expanding marketing efforts, increasing community outreach, increasing audience diversity. Brunstein calls this “coercive philanthropy.”
The following are funded by the NEA
Public Art Projects
Teachers in Residence
Tour Grants- generally given to dance in the US
Travel Grants provides transportation for people who live far away from the city the means to get there. US not into this
Canada: Canada Council 1955
England: CEMA 1938
United States of America: 1965 NEA
"Patronage devices can be analyzed and evalu-ated more effectively when grouped into three categories: (1) those designed to aid arts organiza-tions; (2) those that assist individual artists; and (3) projects directly managed. The bulk of subsidy funds expended by each patronage body goes to organizations."
National Endowment policy normally precludes reliance upon general operations grants, while Canada and England support them.
If new audiences are to be won for the arts, it believes that it must underwrite programs specifically designed to appeal to youth. In 1969-70, awards in this category were made in four fields-music, opera, jazz, and theater.
If new audiences are to be won for the arts, it believes that it must underwrite programs specifically designed to appeal to youth. In 1969-70, awards in this category were made in four fields-music, opera, jazz, and theater.
Dispatch of art for exhibition to remote sections of the country is highly desirable. The sending of groups of performers in opera, theater, music, and ballet on tour to communities devoid of the professional performing arts can do much to diffuse the arts.
The above bolded statements reflect some flaws in the concept of government patronage that we are till dealing with in this country today. The following quote is from the introduction to Angels in the American Theatre. Robert A. Schanke
NEA defines art by it’s usefulness to society, “ causing funders to measure the value by outreach programs, children’s projects, etc. It is making art into a social welfare agency.. Large and small private foundations now give their money not to general support as in the past, but overwhelmingly to special programs conceived by the officers of the foundation.” Programs that might lead to expanding marketing efforts, increasing community outreach, increasing audience diversity. Brunstein calls this “coercive philanthropy.”
The following are funded by the NEA
Public Art Projects
Teachers in Residence
Tour Grants- generally given to dance in the US
Travel Grants provides transportation for people who live far away from the city the means to get there. US not into this
The Segment below is called: Future of Theater in America From Film Titled: Chaos and Order: Making American Theater
Segment Description: Funding for theater in America remains behind other developed nations. America's marketplace mentality places less importance on theater, even though art is vital for a culture and is a mark of all great democracies.
Segment Description: Funding for theater in America remains behind other developed nations. America's marketplace mentality places less importance on theater, even though art is vital for a culture and is a mark of all great democracies.