
Contents
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The National Endowment for the Arts at Fifty The National Endowment for the Arts at Fifty
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The US Model of Federal Dance Funding: Decentralized by Design The US Model of Federal Dance Funding: Decentralized by Design
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The NEA’s Inaugural Approach to Funding Concert Dance Preservation (1965–1980) The NEA’s Inaugural Approach to Funding Concert Dance Preservation (1965–1980)
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The NEA’s Millennial Approach to Federal Dance Funding as Financial Investment (2000–present) The NEA’s Millennial Approach to Federal Dance Funding as Financial Investment (2000–present)
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Contesting Funder-Imposed Estrangement Contesting Funder-Imposed Estrangement
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Postscript/Provocation Postscript/Provocation
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Notes Notes
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References References
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4 Endangered Strangers: Tracking Competition in US Federal Dance Funding
Get accessSarah Wilbur (MFA, PhD) is a choreographer, dance scholar, and the Mellon Postdoctoral Fellow in Dance Studies at Brown University. Her current book project analyzes institution building through a dance lens, using as her case study the fifty-year struggle to uphold norms of dance production and professionalization in the Dance Program at the US National Endowment for the Arts (NEA).
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Published:07 November 2018
Cite
Abstract
The project of tracking competitive advantages in US federal dance funding is complicated by the historically partial, contingent, and indirect character of government support for the arts in US culture. Rather than discussing grant competition strictly in terms of who won the funds, this chapter offers a comparative analysis of early and recent funding infrastructures at the US National Endowment for the Arts (NEA), the lone arts philanthropic arm of the US federal government. By following the political rationales of NEA key players and the institutional rhetorics, programs, and governmental procedures that set these agendas in motion, one can better attend to which competitors hold advantages in the millennial turn toward art as an investment yielding economic deliverables, a far cry from the NEA’s early promotion of cultural preservationism, defined through the narrow production curricula of concert dance.
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