By Felicia Knight
We are living in an age of rage, perpetrated by both ends of the political spectrum, and during which, we are about to launch another battle over the National Endowment for the Arts and the National Endowment for the Humanities. Entrenched interests have trampled upon and fought over these agencies more than The Ardennes.
It’s hard to believe this nation’s cultural agencies were born from a united, bi-partisan vision; established not to solve a problem, but to help us create, expand, and care for our national patrimony. Every time a fortification of bipartisan support is built to ensure their existence, it is breached by those bent on finding a boogeyman, a fundraising mechanism, a wedge issue, or an Internet meme that can rally the crowd.
It’s easy to demonize federal agencies. They’re just more bureaucracy, filled with listless civil servants indifferent to taxpayer need, right? But what if the clichés are wrong? What if the agencies on the chopping block are actually bare bones, efficiently run, professionally staffed sources of transformative and catalytic funding that enhances communities and changes lives?
Here’s another “what if.” What if we stopped disparaging and dismissing public institutions that deserve celebration and investment instead?
For five years I served as Communications Director for the National Endowment for the Arts. Since leaving the NEA I have served on several NEA grant review panels. I chair an organization that receives NEA support. I have intimate, first-hand knowledge of how it works, and here’s what I know:
The federal employees at the NEA come to work every day dedicated to responsibly distributing funding to regional, state, and local arts agencies—the ones that contribute culturally and economically to our communities.
In the last five years, arts organizations in Maine received more than $5.4 million dollars in NEA funding. Arts organizations in Portland received just under a half million dollars. The Maine Arts Commission received more than $3.6 million—funding that was then re-granted to local arts organizations around the state. The catalytic effect of these dollars is indisputable.
Portland Ovations, a stalwart of Maine’s cultural community, and whose board I chair, received $155,000 in NEA funding during the last five years. In that time, Ovations has contributed $12.5 million to the greater Portland economy. That’s just one non-profit arts organization. Other Portland-area entities funded directly by the NEA include:
City of Portland Public Art Committee
Creative Portland
Portland Symphony Orchestra
PORT Opera
Portland Stage Company
The Telling Room
Terra Moto Inc.
University of Southern Maine
The NEA’s annual appropriation is only .004 percent of the federal budget. Defunding the NEA is not about the money. It’s about the symbolism.
There remains a segment of our citizenry—and political establishment—that is highly skeptical of any pronouncement that issues from the arts community concerning the necessity of public funding for art. It serves no purpose to debate why this is so, to argue over whether this skepticism is at all justifiable. It’s enough to recognize this distrust is out there, and it’s not uncommon for it to be held by people not necessarily ill disposed to the arts. Indeed, they may well be ardent supporters.
Within this segment are two camps, those who object to federal funding for the arts because they believe the non-profit arts should be left to sink or swim in the marketplace, and those who object because they believe that the NEA (and NEH) symbolize the reign of the elites over “the rest of us” at the taxpayer expense of all of us.
To both camps, defunding the NEA “sends a message.” Indeed, it does.
To the former argument, I offer language that Congress included in its “Declaration of Purpose” that accompanied the legislation authorizing the NEA and NEH: “While no government can call a great artist or scholar into existence, it is necessary and appropriate for the federal government to help create and sustain not only a climate encouraging freedom of thought, imagination, and inquiry, but also the material conditions facilitating the release of this creative talent.” Lifting non-profit arts from the market place is about understanding value versus price.
To the latter argument I offer the millions of children across the country and the thousands here in Maine who benefit from NEA supported arts and arts education programs. When Merrill Auditorium is filled with students clutching their free copy of a new book and enjoying their very first live performance at Portland Ovations or who realize they love music when hearing the Portland Symphony; when refugee children record their thoughts in a book at The Telling Room—in short, when lives are transformed by art, there is nothing elitist about it. Funding the NEA may be the most populist thing the federal government does, by making art accessible to all the people.
It’s disheartening to be fighting this battle again, especially when it’s presented as a false choice: pay for infrastructure and defense or pay for art. I worked at the Arts Endowment when a Republican president found a way to do both and enthusiastically signed into law a $21.1 million dollar increase for both the NEA and the NEH.
Despite the current climate in Washington, it’s my hope that Congress resists erroneous symbolism, and instead embraces the transformative power of art and our government’s rightful role in supporting it.
Felicia K. Knight is President of The Knight Canney Group, served as Communications Director for the NEA from 2003 – 2008 under Chairman Dana Gioia, and is President of the board of directors for Portland Ovations.