Corporate Philanthropy

2001, 166 pages. National Arts Journalism Program, Columbia University Graduate School of Journalism.

The cultural landscape of Maine is as rich and diverse as its natural landscape, although it is less well known. Recent initiatives have brought attention to the arts and culture of this rural state that is home to 1.4 million residents and covers two million acres, 2,000 miles of rugged (and increasingly developed) shoreline, and a vast area of working forest, farms, and urban settings not unlike its northern NewEngland neighbors.

Are Oregonians in danger of losing their cultural assets and identity? Kim Stafford [special advisor to the Joint Interim Task Force on Cultural Development] fears we are, "For Oregon is beautiful, and fragile, and her people live deep in cultural heritage that could soon be gone. We preserve wilderness in the high country; we make laws to preserve farmland; we brag about the beauty of Oregon. But how do we save our cultural identity before we become a faceless port in a global economy?

The 2001 Summer Music and Art Institute for Teachers was presented through a collaboration among Cleveland State University, Young Audiences of Cleveland, Cleveland Opera, the Cleveland Orchestra, and ICARE (the Initiative for Cultural Arts in Education, a program currently housed at the Community Partnership for Arts and Culture). The Institute was the first such collaboration by this diverse group of organizations and programs. The featured keynote speakers were Cleveland Municipal School District CEO Barbara Byrd Bennett and Elliot W.

At the Fund for Folk Culture (FFC), we have been working with Laurel Jones and Morrie Warshawski of the Bay Consulting Group (BCG) to survey the range of private support for the folk and traditional arts and investigate opportunities for increased private support in this cultural sector.

This article is based on a presentation to a gathering of grantees held in the fall 2000 and aimed at building arts participation. The meeting was sponsored by the Wallace-Reader's Digest Fund and the Walter and Elise Haas Fund.

Last month I was signed up by a colleague to give a lecture to a class of graduate students at New York University studying arts management, all of whom were intending to pursue careers as managers and administrators in cultural institutions, and most of whom already had some experience in line management under their belts. My session was slotted into the finance elective.

David B. Pankratz, principal investigator and project manager, Celia O'Donnell, research assistant

2001, 80 pages. California Arts Council, 1300 I Street, Suite 930, Sacramento, CA 95814, 916-322-6555.

At the annual GIA conference last fall, a group of twenty or so participants gathered together for a roundtable session devoted to funding individual immigrant and traditional artists. Organized by staff or board members of the Bush Foundation and the Flintridge Foundation, the roundtable session provided one of the first opportunities for foundation program officers engaged in this type of support to share information and to identify common concerns and strategies to meet them. And, indeed, common concerns and themes did emerge in the discussion.