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EVALUATION 

TECHNOLOGIES 

INCORPORATED 


AN   EVALUATION  REPORT 

FOR  THE 

SERVICES  TO  THE  ARTS  CATEGORY 

OF  THE 

INTER-ARTS   PROGRAM 


Submitted  to: 

Inter-Arts  Program 
National    Endowment   for  the  Arts 


Submitted  by: 

Evaluation  Technologies  Incorporated 

2020  North   14th  Street,   Sixth  Floor 

Arlington,   Virginia     22201 

(703)   525-5818 


May  30,   1986 


EXECUTIVE  SUMMARY 


I.   INTRODUCTION 

This  report  is  the  result  of  a  test  of  the  evaluation  design  developed  by 
Evaluation  Technologies  Incorporated  (ETII  for  the  Inter-Arts  Program  under  a 
previous  contract  with  the  National  Endowment  for  the  Arts  (The  Inter-Arts 
Program  Services  to  the  Arts  Category:  A  Goal-Based  Evaluation  Design;  July 
27,  1984). 

The  purpose  of  this  evaluation  report  is  fourfold:  (1)  to  document  the  test 
of  the  evaluation  design;  (2)  to  document  the  data  base  that  was  developed 
during  the  data  collection  phase  of  the  evaluation  process;  (3)  to  present 
descriptive  and  analytical  findings  ;  and  (4)  to  provide  recommendations  to  the 
Inter-Arts  Program  regarding  refinements  of  the  evaluation  design  and  of 

grantee  reporting  requirements. 

» 

Presented  in  brief  below  is  an  overview  of  the  methodology  used,  the  data 
analyzed,  and  the  overall  conclusions  resulting  from  an  evaluation  conducted 
for  the  Services  to  the  Arts  Category  of  the  Inter-Arts  Program. 

II.  METHODOLOGY 

The  evaluation  design  was  the  result  of  a  collective  and  cooperative  effort  by 
ETI  and  Inter-Arts  staff.  It  derives  much  of  its  structure  from  the  existing 
grant  reporting  requirements  and  information  provided  by  Endowment  personnel. 
The  implementation  of  the  evaluation  design  was  divided  into  three  distinct 
phases:  data  collection  and  preparation,  data  analysis,  and  summary  of 
results. 

The  data  used  for  this  report  represent  a  synthesis  of  the  data  contained  in 
the  Services  to  the  Arts  Category  grant  files,  covering  the  last  four  fiscal 
years.  Particular  variables  concerning  management  issues,  budgets  and  the 
overall  effect  of  Endowment  funding,  among  others,  were  examined  first  by  a 
document  review,  and  subsequently  through  telephone  interviews  with  the 


grantees  themselves.  All  of  this  information  was  initially  collected  on  a 
written  record  and  then  transformed  into  computer  files,  both  for  future  use 
by  the  Program,  and  more  immediate  use  as  the  data  base  for  the  statistical 
analyses. 

Data  analysis  consisted  predominantly  of  basic  descriptive  statistics  (such  as 
frequencies,  percentages,  and  frequency  distributions)  and  was  augmented  by 
qualitative  information  drawn  from  both  the  grant  files  and  the  telephone 
interviews. 

The  last  phase  of  the  evaluation  consisted  of  combining  the  input  from  these 
varied  data  sources  with  the  statistical  analyses  into  a  format  useful  to  the 
Endowment  as  a  whole,  and  the  Inter-Arts  Program  in  particular,  on  a  number  of 
different  levels.  First,  this  study  demonstrates  the  appropriateness  of  eval- 
uation for  the  Programs  at  the  Endowment,  and  secondly  establishes  a  data  base 
to  which  information  from  subsequent  years  can  be  added,  and  on  which  further 

studies/reports  could  be  based. 

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III.  SUMMARY  OF  FINDINGS 

The  grantees  for  the  Services  to  the  Arts  Category  are  extremely  diverse. 
While  they  all  provide  some  type  of  service  to  artists  or  art  groups,  there  is 
extensive  variation  among  all  of  the  different  types  and  scopes  of  service. 
For  purposes  of  evaluation,  grantees  were  grouped  by  the  primary  service 
objective  for  which  they  were  awarded  funding  by  the  Inter-Arts  Program: 

(1)  Management  Assistance 

(2)  Business  Development 

(3)  Volunteer  Development 

(4)  Financial  Support 

(5)  Information  Dissemination. 

The  principal  findings  in  each  of  these  groups  are  presented  below. 


1.  Management  Assistance 

This  group  comprises  three  principal  activities:  Technical  Assistance,  Work- 
shop Assistance,  and  Scholarship  Assistance.  Technical  Assistance  grantees 
usually  have  larger  project  budgets  than  the  other  two,  reflecting  the  broader 
scope  of  their  services.  Scholarship  Assistance  is  provided  by  somewhat  older 
organizations,  usually  to  encourage  attendance  at  workshops  they  also  hold. 
Many  of  the  projects  show  a  strong  correspondence  between  cuts  in  Endowment 
funding  and  reductions  in  their  project  budgets. 

2.  Business  Development 

These  grantees  tend  to  have  the  largest  project  budgets  of  all  the  other  gran- 
tees in  this  Category;  they  are  also  adept  at  increasing  their  project  funding 
despite  reductions  in  Endowment  grant  monies. 

3.  Volunteer  Development 

This  type  of  service  is  a  function  of  larger  project  budgets  which  have  fairly 
stable  funding  over  time.  The  majority  of  these  grantees  recruit  technical 
specialists  from  private  industry  and  then  place  them  among  client  arts 
groups,  usually  after  giving  the  volunteers  training  in  relating  their  skills 
to  an  arts  population  and  environment. 

4.  Financial  Support 

These  grantees  are  either  part  of  very  large  organizations  or  else  very  small 
ones.  Their  principal  fund-raising  efforts  are  focused  on  public  and  private 
contributions,  rather  than  earned  incomes  (for  themselves  and  other  benefic- 
iary organizations)  . 

5.  Information  Dissemination 

Most  of  these  projects  are  operations  of  smaller  organizations.  These  distri- 
bute information  through  a  combination  of  mailing  and  meeting  strategies. 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Boston  Library  Consortium  Member  Libraries 


http://archive.org/details/evaluationreportOOnati 


6.  General  Characteristics 

In  general,  all  of  these  objectives  are  addressed  by  projects  with  budgets 
representing  less  than  half  of  the  grantee  organization's  budget.  There  is  a 
definite  tendency  for  projects  to  be  allocated  diminishing  amounts--by  both 
the  grantee  organization  and  the  Endowment--over  the  course  of  time.  This  is 
probably  related  to  the  relatively  high  start-up  costs  for  any  new  project. 

Of  particular  interest  is  the  differentiation  in  the  levels  of  funding  for 
repeat  and  one-time  grantees.  Repeat  grantees  are  consistently  funded  at 
higher  levels  for  first  year  studied  than  grantees  funded  only  once  over  the 
four-year  period  studied.  Parallel  to  this  is  the  pattern  for  the  Endowment 
funding  to  represent  a  higher  percentage  of  the  project  budget  for  these 
one-time  grantees  than  for  repeat  ones. 

IV.   UTILITY  AND  RECOMMENDATIONS 

The  information  collected  is  a  condensation  of  all  of  the  information  provided 
to  this  Category  over  the  last  four  fiscal  years  by  its  grantees.  Because 
this  was  collected  and  analyzed  by  people  outside  of  the  Endowment,  a  more  un- 
biased appraisal  of  the  operation  of  these  projects  was  possible. 

Category  specialists  can  now  use  this  collection  as  the  basic  data  base,  which 
can  be  updated  during  each  future  grant  cycle.  This  provides  a  means  to 
quickly  extract  relevant  information  (such  as  for  a  Panel  review  or  to  brief 
the  person  conducting  a  site  visit),  to  conduct  additional  research  on  partic- 
ular topics,  and  to  greatly  extend  the  availability  and  accessibility  of  the 
grant  information.  This  type  of  access  can  serve  to  improve  the  Endowment's 
institutional  memory. 

Many  of  the  recommendations  based  on  this  evaluation  pertain  to  the  diverse 
data  collection  methods  and  instruments  currently  employed  by  the  Program. 
Most  of  these  need  to  be  revised  to  sharpen  their  focus  on  particular  points 
of  reference,  and  to  increase  the  pre-  and  post-grant  comparability  of  infor- 
mation.  Timing  of  the  reports  could  be  changed  to  compensate  for  the  differ- 


ent  fiscal  years  used  by  the  Endowment  and  most  of  the  grantees.  Specific 
requirements  for  the  Final  Descriptive  Report  might  be  established  so  that 
this  report  could  serve  as  a  guide  to  actual  project  accomplishment.  In 
essence,  the  comparability  of  the  pre-  and  post-grant  data  could  be  greatly 
enhanced  through  judicious  additions  and  deletions  to  the  instruments  already 
in  use  throughout  the  project  cycle. 

This  evaluation  provides  the  Endowment  with  the  capacity  to  use  this  infor- 
mation and  the  attendant  analyses  to  conduct  their  own  reviews,  to  monitor 
project  implementation  and  to  provide  additional  information  for  Panel  reviews 
and  other  queries. 

The  complete  evaluation  report  contains  detailed  information  on  the  processes 
and  results  of  the  research  effort,  including  case  studies,  detailed  presenta- 
tions of  findings  and  recommendations,  as  well  as  the  complete  data  base  of 
grantee  records.  These  records  are  also  available  on  floppy  disks  for  Program 
use. 


TABLE  OF   CONTENTS 

PAGE 


I.      INTRODUCTION 


A.  Evaluation  Design    1-1 

B.  Data   Sources   1-7 

C.  Data  Coll  ection  Procedures    1-10 

D.  Data  Analysis  Procedures     1-12 

E.  Evaluation  Report  Format  1-13 


II.     DESCRIPTION  OF  THE   GRANTEES 

A.  Introduction   II-l 

B.  Grantee  Characteristics  II-2 

C.  Summary   11-10 


III.      ANALYSIS  OF  THE  TECHNICAL   ASSISTANCE  OBJECTIVE 

A.  Introduction    III-l 

B.  Grantee  Characteristics   1 1 1-3 

C.  Summary   ...' 111-14 


IV.     ANALYSIS  OF  THE  BUSINESS  DEVELOPMENT  OBJECTIVE 

A.  Introduction   IV-1 

B.  Grantee  Characteristics IV-1 

C.  Summary   IV-7 


V.      ANALYSIS  OF  THE   VOLUNTEER  DEVELOPMENT  OBJECTIVE 

A.  Introduction   V-l 

B.  Grantee  Characteristics  V-2 

C.  Summary   V-9 


VI.      ANALYSIS  OF  THE  FINANCIAL  DEVELOPMENT  OBJECTIVE 

A.  Introduction   VI- 1 

B.  Grantee  Characteristics    VI-1 

C.  Summary   VI-6 


VII.      ANALYSIS  OF   THE   INFORMATION  DISSEMINATION  OBJECTIVE 

A.  Introduction   VII-1 

B.  Grantee  Characteristics  VII-1 

C.  Sunmary   VI  I- 11 

i 


TABLE  OF  CONTENTS 


PAGE 


VIII.      CONCLUSIONS  AND  RECOMMENDATIONS 


A. 
B. 
C. 
D. 
E. 
F. 


Appendix  A 
Appendix  B 
Appendix  C 


Overview   V1II-1 

Observations   from  the  Population   VIII-1 

Population  Characteristics  and  Distributions    VIII-3 

Information  Utility   VII 1-5 

Recommendations   VIII-6 

Evaluation  Process VI 1 1-9 

Glossary  of  Terms  and  Abbreviations   

Geographic  Location  of  Grantee  Organizations   

Data  Bases  for  the  Services  to  the  Arts  Category   


n 


LIST  OF  EXHIBITS 


PAGE 


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Exhib" 

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Exhibi 

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Exhib" 

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Exhibi 

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Exhib 

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Exhib" 

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Exhib 

it  29. 

Exhib- 

it  30. 

Exhib 

it  31. 

Goals   Statement  Matrix   (Abridged)   1-4 

Distribution  of  Grantees  by  Objective  1-6 

Information   Requirements  1-6 

Grantee  Location  by  Target  Area   I 1-4 

Years   in  Service  by  Years   in  Existence  1 1-5 

Organizational    Budget  by  Years  in  Service   II- 6 

Percentage  Project  Budget  by  Years   in  Service  1 1 - 7 

Organizational   Budget  by  Percentage  Project  Budget  I 1-8 

Project  Budget  by  NEA  Funded  Percentage   1 1-9 

Grantee  Distribution  by  Project  Type  and  Years  Funded  ...  III-2 

Personnel    Data  III-3 

Organizational   Budget  Distribution   (Pre-Grant)   II 1-4 

Percentage  of  Organizational    Budget  Represented  by   the 

Project  and  the  Range  of  that  Percentage   1 1 1  -  5 

Distribution  of  Project  Budgets   II 1-6 

Average  Years  in  Service  and  Range   II 1-6 

Project  Budgets  by  Years   in  Service   III-7 

Grantee  Location   II 1-8 

Frequency  Distribution  of  Types  of  Products   1 1 1-9 

Subject  Areas   II I- 11 

Average  First-Year  Grants  1 1 1-13 

Distribution  of  Project  Budgets   IV-2 

Project  Budget  by  Age  of  Organization   IV-3 

Types  of  Products   IV-4 

Service  Directed  Toward  People  and  Organizations   IV- 5 

Endowment  Funding   IV-6 

Organizational    Budget  ...         •. V-2 

Grantee  Location  by  Target  Area    V-4 

Types  of  Volunteers  by   Sources  of  Volunteers   V-5 

Sources   of  Volunteers  by  Recruitment  Strategy    V-5 

Types  of  Volunteers  by   Recruitment  Strategy   V-5 

Actions  to  Institutional  ize  Vol  unteers   V-6 


in 


Exhibi 

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Exhibi 

t  46. 

LIST  OF  EXHIBITS    (Concluded) 

PAGE 

NEA  Percentages   and  Dollar  Contributions    V-6 

Project  Types   VI - 2 

Organizational    Budget  VI-3 

Target  Area  by  Grantee  Location    VI-4 

NEA  Funding   VI-6 

Grantee  Distribution  and  Years  of  Funding   VII-2 

Organizational    Budget  Distribution  VI 1-3 

Distribution  of  Project  Budgets   VII-4 

Years   in  Service  by  Project  Budget  for  Clearinghouses   ...  VI 1-5 

Grantee  Location  by  Target  Area    VI 1-6 

Target  Populations  VI 1-7 

Nature  of  Information   VII-8 

Dissemination  Strategies*.....  VI 1-9 

Percentage  of  Total   Project  Budget  Funded  by  NEA VI I- 10 

Funding  Patterns  VII-11 


IV 


I.      INTRODUCTION 


A.      EVALUATION  DESIGN 

This  report  is  tiie  result  of  a  test  of  the  evaluation  design  developea  by 
Evaluation  Technologies  Incorporated  (ETI)  for  the  Inter-Arts  Program  under  a 
previous  contract  with  the  National  Endowment  for  tiie  Arts  (The  Inter-Arts 
Program  Services  to  the  Arts  Category:  A  Goal -Based  Evaluation  Design; 
July  27,  1984). 

The  purpose  of  this  evaluation  report  is  fourfold:  (1)  to  document  the  test 
of  the  evaluation  design;  (2)  to  document  the  data  base  that  was  developed 
during  the  data  collection  phase  of  the  evaluation  process;  (3)  to  present 
descriptive  and  analytical  findings;  and  (4)  to  provide  recommendations  to  the 
Inter-Arts  Program  regarding  refinements  of  the  evaluation  design  and  of 
grantee  reporting  requirements.  ♦ 

This  evaluation  study  was  designed  to  address  tine  specific  evaluation  questions 
identified  by   the  Inter-Arts  Program,   that  is: 

To   what   extent  are    the    projects/activities   which    have   been    funded   under 
the  Services  to  the  Arts  Category  meeting  Category   goals? 

1  .     Program  Purpose 

The  Inter-Arts  Program  seeks  to  nurture  and  sustain  the  work  of  artists  and 
arts  organizations  whose  activities  cross,  mix,  or  involve  two  or  more  arts 
disciplines.  The  Inter-Arts  Program  thus  supports  a  wide  range  of  undertakings 
including  those  which: 

o  Create  interdisciplinary  work  that  will  advance  excellence  or 
potential   excellence  on  a  national    or  regional   level; 

o  Implement  projects  or  support  the  operations  of  institutions  whicn 
maintain  the  highest  artistic  level,  have  regional  or  national 
significance  and  cross   traditional    discipline  lines; 

1-1 


o  Present  inter-  or  cross-disciplinary  art  to  tne  public; 

o  Aavance   the   field  of  inter-disciplinary  art;    and 

o  Provide    services    and    resources    necessary    for    artistic    growth    and 
devel  opment. 

The  Inter-Arts  Program  staff  expressed  a  need  to  focus  on  the  last  of  these 
types  of  support  --  the  Services  to  the  Arts  Category. 

2.     Category  Purpose 

Services  to  the  Arts  is  an  umbrella  heading  under  which  'service'  can  De 
variously  defined,  but  is  basically  one  which  supports  those  organizations 
serving  mul  ti disci  pi  inary  professional  artists  and  arts  organizations.  More 
specifically,  Category  goals  are  designed  to  assist  service  organizations 
which:  ,    • 

o  Develop  management  skills    for  adninistrators  ana  directors  of  arts 
organizations; 

o  Provide    business    practices/services    which    cut    costs    or    increase 
the  quality  of  programs   for  arts  groups; 

o  Develop  new  sources  of  volunteer  support  for  the  arts; 

o  Develop   financial   support   for  the  arts;   and/or 

o  Disseminate   information   about  the  arts    to  artists/arts   administra- 
tors/other arts  constituencies. 

Thus,  Services  to  the  Arts  would  not  refer  to  the  presentation  of  inter-  or 
cross-disciplinary  art,  but  rather  the  provision  of  management  or  business 
assistance  to  a  group  which  did  present  such  art.  In  particular,  this  type  of 
assistance  encompasses  activities  which  have  regional  or  national  signifi- 
cance, and  which  are  effective  in  providing  artists  and  arts  organizations 
with   the  resources  necessary    for   their   institutional    development. 

1-2 


3.  Design  Process 

The  development  of  the  evaluation  plan  was  preceded  by:  (1)  discussions  witn 
Inter-Arts  Program  staff,  (2)  review  of  the  literature,  and  (3)  the  interim 
development  of  a  goals  matrix.  The  five  Category  goals  were  used  as  the  guide 
in  the  development  of  the  matrix  and  of  the  overall  evaluation  design.  Each 
goal  was  treated  as  a  separate  objective,  and  it  was  assumed  that  this  would 
permit  the  analysis  of  grantees  by  objective  and  also  by  specific  evaluation 
questions.  The  matrix  (Exhibit  1)  sets  forth  the  specific  Services  to  the 
Arts  Category  goals  in  the  context  of  the  more  general  National  Endowment  for 
the  Arts  and  Inter-Arts  Program  goals.  It  also  displays  the  type  of 
information  (such  as  performance  indicators)  necessary  to  an  understanding  of 
whether  each  goal  is  met,  separating  each  of  these  indicators  into  constituent 
data  elements  to  be  used  in  measuring  objective  achievement.  This  matrix  was 
then  presented  to  the  Inter-Arts  Program  staff  for  their  review  and  comment, 
was  revised  in  light  of  their  suggestions,  and  serves  as  the  framework  upon 
which  the  plan  was  constructed. 

4.  Scope  of  Design 

As  the  evaluation  study  is  designed  simply  to  address  the  extent  to  which  the 
various  activities  funded  are  meeting  Category  goals,  it  does  not  address 
itself  to  particular  policy  questions.  In  this  way,  relative  issues  of 
prioritizing  grant  awards  or  determining  the  effect  of  Endowment  funding  are 
not  addressed.  Rather,  the  evaluation  is  intended  to  examine  projects  funded 
to  date  under  each  Category  goal  and  to  provide  the  framework  for  drawing 
general  conclusions  about  the  grantees.  It  was  intended  that  the  implementa- 
tion of  this  plan  would  result  in  two  principal  products:  the  detailed 
analysis  of  individual  grantees'  success  in  meeting  Category  goals  and  an 
analysis  of  the  extent  to  which  grantees  as  a  group  have  been  successful  in 
meeting  Category  goals. 

The  first  assessment  would  allow  judgnents  to  be  made  about  particular 
grantees;  the  second  analysis  would  allow  generalizations  to  be  made  about  tne 
relationship  between  various  aspects  of  the  grant  process  and  the  achievement 
of  each  Category  goal  ,  and  this  may  assist  the  Endowment  in  making  future 
program,  policy,  and  funding  decisions. 

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1-4 


The  population  studied  consisted  of  58  organizations  funded  by  the  Endowment 
over  tne  course  of  fiscal  years  1980-1964.  These  grantees  were  awarded  varying 
amounts  for  varying  purposes  over  that  period:  the  five  primary  reasons  for 
funding  are  presented  as  this  study's  five  objectives.  These  objectives  are: 
technical  assistance,  Dusiness  devel  opment,  volunteer  support,  financial 
support  and  information  dissemination.  In  addition,  many  of  these  organiza- 
tions were  funded  more  than  one  time,  so  tnat,  for  the  58  grantees,  there  were 
137  grants  examined  in  all,  unevenly  distributed  over  the  five  objectives. 
This   is   presented  in  Exhibit  2. 

In  the  course  of  implementing  this  design  it  became  apparent  that  certain 
performance  indicators  would  be  difficult  to  obtain.  To  offset  tnis  lac<  of 
information,  certain  proxy  measures  and  alternative  strategies  were  developed. 
These  were  based  on  discussions  with  the  Inter-Arts  Program  staff  after  the 
first  perusal  of  the  grant  files  and  determination  of  the  relative  priority 
and  usefulness  of  the  original  evaluation  questions.  Of  additional  concern 
was  the  relative  scarcity  of  comparable  post-grant  information.  The  proxy 
measure  agreed  upon  in  this  case  was,'  for  repeat  grantees  only,  the  use  of 
pre-grant  information  for  the  following  grant  year  as  post-grant  information 
for  the  one  preceding.  In  essence,  this  created  an  interlocking  system  whereby 
materials  used  in  support  of  the  FY  82  application  could  be  treated  as  evidence 
of  the  accomplishments  of  the  FY  81    grant. 

5.     Assumptions 

Particular  assumptions  were  made  at  the  onset  of  tne  design  process,  pertain- 
ing both  to  the  design  itself  and  the  information  collection  procedures  neeoed 
to  implement  the  evaluation  design.  It  was  assumed  that  the  grantees  were 
treated  as  responsive  to  the  relevant  Category  goal,  rather  than  strictly  as 
providers  of  certain  services. 

In  addition,  it  was  assumed  tnat  the  information  collection  procedures  woul  a 
be  lengthy  but  fairly  straightforward,  and  would  draw  heavily  from  existing 
written  sources.  It  was  anticipated  that  all  58  of  the  grantee  organizations, 
most  of  whom  had  received  more  than  one  grant,  would  have  complete  files  at 
Inter-Arts.       Information    collection    would    be    primarily    document    review    and 

1-5 


OBJECTIVE   A 


OBJECTIVE   B 


OBJECTIVE   C 


OBJECTIVE   D 


OBJECTIVE   E 


Assn.  of  College, 
University  and 
Community  Arts 
Administrators 

Assn.   for   Resources 
&  Technical   Svcs. 

California  Confedera- 
tion of  the  Arts 

Chicano  Humanities 
6  Arts  Council 

Chinese  American  Arts 
Council 

Coronunity  Art  Resources 


Bay  Area  Lawyers 
for  the  Arts 


Cul  tural   Council 
Foundation 

Film  in  the  Cities 
(82  -  83) 

Performing  Art  Ser- 
vices  (   81   -  82) 


Arts  4  Business  Council         Artists  Foundation 


Cornish  Institute 


Penjerdel   Foundation/ 
BVA  Philadelphia 

Volunteer  Lawyers  for 
the  Arts 

Volunteer  Urban  Con- 
sul ting  Group 


Arts   for  Everyone 


NYC  Dept.  of  Cultural 
Affairs 

Cultural    Education 
Collaborative 

Film  in  the  Cities   (84) 


42nd  St  Theatre  Row 


American  Council    for   trie 
Arts 


Arts   International 


ATLATL 


Artspace  Projects 


Center   for  Arts   Informa- 
tion 

Center  for  Occupational 
Hazards 


Cultural    All  iance  of 
Greater  Washington 

Golden  Gate  University 


Museums  Collaborative 


New  York  Foundation  for 
the  Arts 


Foundation   for  the  Com- 
munity of  Artists 

Hospital   Auoiences 


Graduate  School   for 
Conrnunity  Development 

Greater  Philadelphia 
Cultural  Alliance 

Hal eakal a/The  Kitchen 


Playwrights  Horizon 


Twin  Cities  Metro.   Arts 
All iance 


Institute  of  Alaska 
Native  Arts 

Japanese  American  Cult. 
A  Conrnunity  Center 

Metropolitan/Regional 
Arts  Council 


Mass.  Cultural  Alliance 
New  Performance  Gallery 


Opportunity  Resources 
for  the  Arts 

Performing  Art  Services 
(84) 


Natl .   Assn.  of  Artists 

Organizations 
Natl.  Council    on  the 

Aging 

Natl.   Guild  of  Community 
School  s  of  the  Arts 

New  York  Public  Library 


St.  Paul   -  Ramsey  United 
Arts  Fund 

Sangamon  State  University 

Southern  Arts  Fdn.     . 

Western  States  Art  Fdn. 

Publ  ishing  Center  for 
Cultural   Resources 


I 


Exhibit  2:     Distribution  of  Grantees  by  Objectives 


s 


s 


1-6 


only  supplemented  on  an  'as  needed'  basis  by  the  Category  Specialist  or  througn 
telephone  interviews.  It  was  assumed  that  these  interviews  would  be  conducted 
by  that  Specialist,  as  the  grantees  would  be  more  likely  to  respond  to  requests 
for  further  information  from  the  person  who  reviewed  their  applications  (most 
especially,  as   an   incentive,  those  pending)  than   from  an  outsider. 

It  was  also  assumed  that  grantees  within  Category  objectives  would  be  compar- 
able, for  example,  that  grants  awarded  for  information  oissemination  would  be 
relatively  similar   in  scope  and  activities. 

Finally,  it  was  assumed  that  pre-  and  post-grant  information  would  be  avail- 
able and  of  equal  quality,  so  that  an  analysis  between  planned  and  actual 
performance  could  be  made. 

B.      DATA  SOURCES 

The  information  contained  in  the  grant  files  served  as  the  primary  source  for 
this  evaluation  report.  The  Inter-Arts  Program  requires  certain  documentation 
from  the  grantees  but  also  maintains  in  the  same  file  any  and  all  supplementary 
information   provided  by  the  grantee. 

1  .     Chronology  and  Development 

The  files  are  maintained  according  to  the  fiscal  year  of  the  grant,  which 
overlaps  the  chronological  year.  Thus,  grantees  may  have  funds  awarded  from 
June  1982  through  July  1983:  Inter-Arts  considers  these  fiscal  year  (FY)  1982 
grants.  The  period  examined  encompassed  grants  from  fiscal  year  1981  through 
1984.  Some  grantees  were  awarded  grants  for  all  four  of  those  fiscal  years. 
The  information  required  from  the  applicants  has  changed  over  the  course  of 
this  perioa,  focusing  more  precisely  on  budgetary  information  as  well  as 
project  description  and  methodology.  This  nas  resulted  in  the  creation  of  a 
new  required  form,  the  Supplementary  Information  Sheet,  which  was  first 
implemented  in  1983.  This,  coupled  with  minor  revisions  to  the  application 
form,  determined  that  the  information  required  from  tne  grantees  changed  over 
the  course  of  time.  The  evaluation  questions  did  not  respond  to  these  altera- 
tions,  as    the  questions   were   primarily  directed  to    the   presence   or   absence   of 


1-7 


information.  The  presence  of  more  detailed  information  simply  meant  that  more 
of  those  questions  could  be  answerea:  it  was  assumed,  but  not  empirically 
tested,  that  later  grantees  would  have  more  complete   information. 

2.     Documentation 

Briefly,  the  types  of  information  required  from  the  grantees  are  drawn  from 
four  primary  forms,  split  evenly  between  pre-grant  and  post-grant.  These  are 
presented  in  Exhibit  3. 

PRE-GRANT  POST-GRANT 

Application  Financial    Status   Report 

Supplementary  Information  Final    Descriptive  Report 

Sheet 

Exhibit  3:     Information  Requirements 

a.  Pre-Grant  Information.  The  application  is  the  most  structured  and 
detailed  of  these  four  documents.  It  serves  to  identify  the  particular 
activity  for  which  funding  is  requested,  what  population  will  be  served  by 
that  activity,  as  well  as  information  on  the  personnel  and  buaget  for  both  the 
project  and  of  the  organization  as  a  whole.  Various  assurances  (i.e., 
non-profit  status  from  the  IRS)  are  also  required,  as  well  as  a  list  of  extra 
information   (which   is  not  contained  on   the  application   form).     This   includes: 

o  Project  description   (one  page  summary) 

o  Current  membership  listing 

o  Schedules  of  activities   for  the  coming  year 

o  Staff  biographies 

o  List  of  grants  received  from  NEA 

o  Any    final   reports   outstanding  to  Inter-Arts. 

There  is  a  fairly  strict  timetable  attached  for  this  process.  For  example,  the 
1966   grants  required   the  notification  of   intent   to  apply  by    September  9,   1985. 


1-8 


The  application  package  had  to  be  postmarked  by  November  8,  1965.  The 
announcement  of  awards  was  made  in  June,  1986,  for  a  grant  period  beginning 
(at  the  very  earl  iest)  by  July  1  ,   1986. 

The  other  piece  of  information  required  by  organizations  applying  to  tne 
Services  to  the  Arts  Category  is  the  Supplementary  Information  Sheet  (SIS). 
This  provides  for  more  detail  on  such  issues  as  revenues  and  expenses  and 
provides  for  elaboration  on  service  and  evaluation  methods,  subject  areas  to 
be  addressed,  el  igibil  ity/sel  ection  criteria  and  determination  of  need.  This 
form  was  developed  largely  for  this  Category's  diverse  applicants,  as  it 
provided  a  forum  for  them  to  be  as  explicit  as  possible  with  reference  to 
their  needs  and  aims,  and  thus  provided  the  Panel  members  with  more  information 
from  which  to  make  decisions  and  assess  priorities.  The  SIS  is  often  used 
simply  as  a  more  rhetorical  restatement  of  information  previously  presented  in 
the  application:  its  utility  is  yery  much  a  function  of  the  overall  level  of 
planning  of  the  applicant. 

b.  Post-Grant  Information.  The  two  documents  required  from  the  grantee 
at  the  end  of  the  funding  period  are  the  Final  Descriptive  Report  (FDR)  and 
the  Financial    Status  Report  (FSR). 

The  FDR  is  an  Endowment- wide  requirement  of  all  grantees.  There  are  no 
particular  standards,  however,  for  that  document.  Some  grantee  organizations 
are  relatively  thorough,  while  others  address  merely  the  facts  that  the  grant 
was  made,  how  it  was  spent  and  what  types  of  literature  were  generated  or 
activities  performed  as  a  result.  In  this  way,  there  is  almost  no  comparabil- 
ity between  the  information  contained  in  the  application  and  SIS  and  that 
contained  in  the  FDRs.  The  particular  incentive  for  its  submission  is  that  no 
new  grant  to  that  organization  can  be  awarded  if  that  document  is  not  filed. 
Of  course,  if  a  grantee  organization  is  no  longer  applying  to  the  Endowment 
for  funds,  that  incentive  disappears  altogether. 

The  FSR  is  a  standaraized  form,  consisting  of  a  single  page  record  of  income 
and  expenses.  The  grantee  organization  has  previously  filed  extremely  similar 
forms  to  prompt  disbursement  of  their  grant  monies:  the  FSR  lists  the  sum 
totals.      This    document  has    the   same    incentive    for   submission    as    tne    FDR,    and 


1-9 


can  only  be  used  in  a  limited  sense  in  terms  of  comparability  with  the 
application  and  SIS,  as  it  does  not  list  inaividual  expenses,  but  merely  the 
total  amount  paid  out  by   the  Endowment  and  the   total    project  cost  to  date. 

Information  in  addition  to  the  requirements  may  be  provided  by  the  grantee. 
This  may  include  samples  of  the  various  products  made  possible  by  grants  from 
the  NEA  as  eviaence  of  successful  project  completion  or  of  potentially 
successful  project  accomplishment  (with  the  following  year's  application). 
Products  range  from  brochures  and  books  through  t-shirts  and  coupons. 
Grantees  may  also  include  in  their  application  or  FDR  any  audits  or  annual 
reports. 

C      DATA  COLLECTION  PROCEDURES 

1 .  Data   Recording  Sheets 

The  goals  statement  matrix  provided  a  basic  spreadsheet  outline,  which  was 
then  developed  and  refined  to  become  the  data  recording  sheet.  A  data 
recording  sheet  was  developed  for  each  of  the  five  objectives  in  order  to 
provide  a  standard  way  to  collect  information  from  the  grantee  files  and  a 
relatively  unchanging  format  for  the  data  entry  procedures.  Each  sheet  lists 
the  information  to  be  collected  on  the  left-hand  side  of  tne  page,  while 
pre-grant,  post-grant  and  calculation  form  the  column  headings.  Thus  informa- 
tion extracted  from  the  application  was  entered  in  the  first  column,  and  infor- 
mation from  the  FDR  in  the  second.  All  the  information  collected  was  on  one 
consistent  form,  which   permitted  data   to  be  amassed  by  more   than   one  person. 

2.  Data  Avail  abil  ity 

The  58  grantees  created  a  total  of  137  grant  files.  Each  file  was  thoroughly 
reviewed  and,  in  the  case  of  missing  information,  reviewed  again  before 
contacting  the  Category  Specialist.  ftice  that  stage  was  reached,  a  meeting 
was  held  to  determine  tne  relative  likelihood  of  finding  such  information  in 
grantee  records  and  its  relative  importance  to  the  study.  The  decision  was 
made  to  go  ahead  and  ask  the  grantees,  but  to  expect  that  most  of  the  questions 
would  remain  unanswered. 


I-  10 


3.  Pre-   and  Post-Data  Comparability 

The  great  differences  between  the  types  of  information  required  from  tne 
application  and  SIS  and  those  required  by  tne  FSR  and  FDR  made  comparisons  of 
this  nature  extremely  difficult,  even  where  possible.  In  part,  this  is  due  to 
the  types  of  questions  the  Endowment  asks  as  part  of  tneir  grant  process  ano 
those  that  were  askea  as  part  of  the  evaluation  process:  the  latter  were 
often  concerns  particular  to  the  evaluation  study.  Despite  the  study  being 
drawn  from  the  types  of  information  that  the  Endowment  requested,  the  way  the 
questions  were  phrased,  based  on  tne  premise  of  comparability,  created 
significant  gaps  in  the  data. 

4.  Telephone  Foil  ow-Up 

The  majority  of  grantees  were  contacted  by  the  Category  Specialist,  informed 
of  what  types  of  information  were  required  and  then  told  to  relay  that 
additional  data  to  ETI.  Grantees  who  had  not  contacted  ETI  by  a  deadline  were 
then  approached  by  the  contractor.  In  most  cases,  the  additional  data  required 
significant  searches  through  years-old  documentation  on  tne  part  of  the 
grantees.  An  additional  problem  arose  from  fiscal  definitions:  the  Endow- 
ment's grant  year  goes  from  July  to  June.  Most  of  the  grantees  use  one  that 
goes  from  October  to  September.  Some  may  also  keep  records  Dased  on  the 
calendar  (January  -  December)  year.  The  information  requested  thus  involvea 
recalculations  of  annual  and  audit  reports  and  further  delays,  as  well  as 
questions  as   to  the  validity  of  the  figures  then  presented. 

Of  the  58  grantees,  most  were  reached  by  phone  by  either  the  Category  Special- 
ist or  ETI   staff.     Thirteen   provided  addi  tional    data. 

5.  Methodology  Caveats 

Throughout  the  application  of  the  evaluation  design,  it  became  apparent  that 
certain  types  of  information  were  chronically  missing.  While  this  is  more  a 
function  of  the  types  of  questions  the  evaluation  sought  to  answer  than  the 
'fault'  of  the  Endowment,  it  nevertheless  makes  an  important  point  about  the 
types   of  information  required  by  the  Endowment. 


1-11 


Comparability  between  pre-  and  post-grant  data  is  minimal.  Even  where  tele- 
phone conversations  produced,  for  example,  some  aol  1  ar  figures  for  budgetary 
information,  the  definitions  differed  so  widely  between  the  application  and 
that  subsequent  retrieval    as   to  make  any  comparison  highly  suspect. 

Many  of  the  variables  to  be  used  to  determine  the  evaluation  purpose  were  not 
present,  or  were  unreliable.  Numbers  of  people  served  is  a  telling  case  in 
point:  on  the  application,  this  number  could  refer  to  the  entire  population 
of  the  region  being  served,  based  on  the  premise  that  the  general  public  would 
benefit  from  increased  opportunities  in  the  arts,  not  just  artists  and  arts 
organizations.  Numbers  actually  served  might  be  included  in  the  FDR,  but  not 
necessarily. 

Statistics  thus  proved  somewhat  less  useful.  Comparisons  being  difficult  even 
vrfiere  possible,  most  correlations  were  not  attempted.  Correlations  consist  of 
the  analysis  of  patterns  of  the  data,  for  example,  are  projects  with  more 
staff  time  funded  at  a  higher  level?  'This  would  be  a  direct,  causal  ,  correla- 
tion: higher  labor  costs  affect  the  project  budget.  Both  variables  increase. 
An  inverse  correlation  would  be  where  one  variable  increases  as  the  other 
decreases.  This  type  of  statistic  is  performed  based  on  cross-tabulations  of 
two  variables.  Analyses  scheduled  to  be  performed  stressed  the  changes  between 
pre-  and  post-grant  data,  and  also  distinctions  between  planned  and  actual, 
such  as  numbers  served.  More  complex  statistics,  such  as  chi-square,  were  not 
attempted  due  to  the  weakness  of  the  data.  Ins  tea  a,  basic  descriptive  statis- 
tics and  some  frequencies  (counts)  were  employed  to  augment  the  more  qualita- 
tive review  of  the  grantee  files. 

D.     DATA  ANALYSIS  PROCEDURES 

1  .     Ethnography 

Most  of  the  data  collected  served  to  proviae  a  qualitative  overview  of  the 
types  of  projects  fundea  by  the  Services  to  the  Arts  Category.  A  qualitative 
review  is  primarily  descriptive,  and  provides  information  about  the  popula- 
tion, drawing  on  shared  characteristics,  rather  than  a  report  based  on  more 
statistical      analysis     of     relationships.       Specific     characteristics     of     the 


1-12 


grantees,  such  as  the  level  funded  by  the  Endowment,  especially  as  demon- 
strated by  repeat  grantees,  were  also  examined.  The  analysis  goes  from  the 
most  generic  levels  (what  types  of  projects  are  funded)  through  specific 
objective  levels  (what  are  the  commonalities  in  volunteer  programs)  and,  in 
some  instances,  through  sub-objective  levels.  This  last  examination  encom- 
passes the  objectives  of  technical  assistance  and  information  dissemination, 
both  of  which  were  found  to  contain  sufficiently  disparate  activities  to 
warrant  their  fission   into  smaller  groups. 

2.     Sel  ected  Statistics 

Statistics  usee  in  this  report  consist  of  frequencies,  percentages,  and 
frequency  distributions.  Occasionally  averages  could  be  tabulated.  Frequen- 
cies consist  of  the  numbers  of  times  a  variable  occurs,  and  frequency 
distributions  refer   to   the  number   of  times   a   series   of  variables   occur.      More 

advanced  statistics  were  not  employed  due  to  weaknesses   in  the  data. 

< 

E.     THE  EVALUATION  REPORT  FORMAT 

This  report  is  divided  into  eight  sections.  The  first  serves  to  introduce  the 
study,  the  second  to  present  the  most  general  characteristics  of  the  grantee 
population.  The  third  through  seventh  sections  analyze  the  individual 
objectives  in  greater  depth,  and  conclusions  and  recommendations  are  summed  up 
in  the  final  section.  Definitions  of  terms  and  abbreviations  used  are 
presented  in  Appendix  A.  Particular  definitions  of  the  geographic  locations 
are  found  in  Appendix  B.  Appendix  C  contains  the  data  bases  used  for  all  of 
the  five  objectives  analyzed. 


1-13 


II.      DESCRIPTION  OF  THE   GRANTEES 


A.      INTRODUCTION 

The  intent  of  tnis  chapter  is  to  present  the  findings  which  resulted  from  the 
most  generic  consolidations  of  the  Services  to  the  Arts'  grant  information. 
While  the  five  objectives  each  pursue  their  part  of  this  Category's  mandate 
fairly  separately,  there  are  certain  similarities  in  the  overall  management  of 
all  of  these  objectives.  These  similarities  typically  concern  the  project 
management,  but  at  the  same  time  also  reveal  a  certain  pattern  to  the  types  of 
projects  tne  Endowment  funds  and  tne  way  in  which  those  funds  are  distributed. 
In  the  subsequent  chapters  each  of  the  objectives  is  treated  individually, 
focusing  on  the  methods  used  and  scope  of  activities  undertaken.  This  is  tne 
only  section,  tnerefore,  where  all  of  the  different  objectives  and  their 
respective  grantees  are  examined  as  a  group  responsive  to  the  Inter-Arts 
mandate. 

The  Services  to  the  Arts  Category  of  the  Inter-Arts  Program  is  the  umbrella 
under  which  support  is  provided  to  activities  which  serve  professional  artists 
and  arts  organizations  working  in  more  than  one  art  form.  This  is  a  ^ery 
large  umbrella,  including  activities  as  general  as  management  training  and  as 
specific  as  locating  candidates  for  jobs  or  providing  access  to  darkroom  faci- 
lities. The  techniques  employed  within  the  diverse  objectives  overlap  to  a 
considerable  extent. 

Many  of  these  grantees  conduct  training:  orienting  volunteers  to  an  artistic 
mind-set,  sponsoring  workshops  and  courses  or  offering  lectures.  These 
various  methods  may  comprise  the  principal  activity  of  the  grantees,  or  the 
institutionalization  of  a  particular  process,  or  may  represent  simply  one  of 
the  ways   used  to  aisseminate  information. 

Tne  more  general  management  characteristics  described  in  this  section  provioe 
some  informational  backgrouna  to  the  subsequent  individual  analyses.  The 
following  sections  provide  a  more  specific  framework  in  which  to  interpret  tne 
Endowment  grant  program. 


II- 1 


B.      GRANTEE  CHARACTERISTICS 

Because  of  the  differences  among  and  within  these  objectives,  there  are  not 
many  areas  wnere  comparison  among  the  five  objectives  is  useful.  There  dre  , 
however,  some  general  variables  which  can  be  used  to  create  an  overview  of  tne 
types  of  grantees  funded  by  the  Services  to  the  Arts  Category.  These  variables 
are: 

o  Grantee  location:  the  address  of  the  grantee  organization,  grouped 
by  New  York  City,  Major  Metropolitan,  and  Other.  Tnese  are  defined 
in  Appendi  x  B. 

o  Target  area:  the  geograpnic  scope  of  the  grantee's  activities, 
grouped  by  local,  statewide,  mul  ti -state/regional  ,  national,  and 
international  areas.  This  refers  to  the  location  and/ or  magnituoe 
of  the  population  at  which  the  grantee's  efforts  are  directed. 

« 
o  Years   in  service:      the  length   of  time   the  grantee  organization  nas 

been      performing      the      particular     activity  (ies )      funded     by     the 

Endowment. 

o  Years  in  existence:  the  length  of  time  the  grantee  organization 
nas  operated. 

o  Project  budget:  actual  pre-grant  figure  for  the  budget  of  the 
Endowment -fun  oed  activity. 

o  Organizational  budget:  the  actual  pre-grant  figure  for  the  buaget 
of  the  entire  grantee  organization. 

o  Percentage  project  budget  (of  tne  organizational  budget):  this 
figure  serves  to  identify  the  proportionate  amount  of  the  resources 
directea  to  the  Endowment-funded  project  by  the  organization  as  a 
whole. 


11-2 


o  Percentage  (of  tne  project)  funded  by  NEA:  tnis  figure  refers  to 
the  proportionate  amount  of  the  activity  which  is  actually 
subsidized  by  the  Endowment  contribution. 

All  of  these  variables  are  also  analyzed  by  individual  objectives,  out  are 
usee  in  this  section  as  an  examination  of  some  of  the  generic  tendencies  for 
these  grantees.  Rather  than  presenting  frequencies  and  percentages  of  the 
individual  variables,  tables  were  formed  to  analyze  tne  possible  connections 
and  correspondences  of  these  grantees. 

These  tables   include  the  following: 

o  Grantee  location  by   target  area 

o  Years  in  service  by  years  in  existence 

o  Organizational  budget  by  years   in  service 

o  Percentage  project  budget  by  years  in  service 

o  Organizational  budget  by   percentage  project  budget 

o  Project  budget  by  NEA  funded  percentage. 

These  tables  were  created  to  address  specific  questions,  the  answers  for  which 
would  then  cumulatively  present  an  overview  of  the  more  general  characteristics 
of  the  grantees   found  in  this  Category. 

The  data  used  in  the  following  analyses  was  collected  from  the  last  year 
funded,  pre-grant  information.  The  data  from  the  last  year  funded  were  used 
as  most  representative  of  the  institution's  current  abilities,  and  the  pre- 
grant  information  due  to  its  relatively  consistent  presence. 

1  .     Geographic  Locations 

Only  one  of  the  analyses  in  this  section  permitted  multiple  responses:  this 
was  for  the  grantee  location  by  target  area.  All  of  the  other  tables  repre- 
sent unique  responses.  Some  grantees  focused  on  more  than  one  segment  of  tne 
arts  population,  reaching,  for  example,  both  a  local  and  a  national  audience. 
The  methods  used  may  have  differed,  i.e.,  newsletters  may  have  represented  the 
national    strategy,    while    access    to    computer    facilities    one    of    the    resources 


1 1-3 


made  available  to  individuals/organizations  in  the  same  general  area  as  tne 
grantee.  Grantee  location  by  target  area  is  presented  in  Exhibit  4.  This 
table  addresses  the  questions  of  the  relative  geography  of  the  grantees  and 
their  target  populations:  is  one  location  more  prone  to  particular  constitu- 
ents than  anotner,  and  what  patterns  and  variations  can  be  ascertained.  The 
geographic  areas  used  are  New  York  City,  Major  Metropolitan  areas,  and  Other. 
These  are  defined  in  Appendix  B. 


Grantee 

Target 

Area 

Location 

LOCAL 

STATE 

REGIONAL 

NAT'L. 

INT'L. 

TOTAL 

NYC 

4 

3 

2 

13 

3 

25 

MAJOR  METRO. 

7 

3 

9 

8 

1 

28 

OTHER 

5 

1 

6 

2 

1 

15 

TOTAL 

16 

7 

17 

23 

5 

b& 

Exhibit  4:     Grantee  Location  py  Target  Area 

Most  of  the  grantees  fall  into  three  groups  in  terms  of  their  target  area, 
leading  with  national,  followed  by  regional  and  local.  While  the  most  common 
combination  was  for  New  York  City  based  grantees  with  national  scope,  the  most 
common  geographic  location  for  grantees  was  tne  major  metropolitan  areas.  Of 
particular  note  is  the  relative  strength  across  all  the  different  target 
areas:  while  New  York  City  grantees  are  more  likely  to  be  national  in  scope 
than  anything  else,  grantees  from  otner  major  metropolitan  areas  are  equally 
likely  to  be  focusing  on  local,  regional,  or  national  (or  some  combination 
thereof)  populations. 

2.      Years   in   Service  and  Years   in   Existence 

Tne  age  of  the  organization,  as  well  as  that  of  the  project,  were  taken  usually 
as  proxies  for  the  overall  stability  of  the  organization.  This  is  presented 
in  Exhibit  5,  which  presents  both  chronologies  at  five  year  intervals.  The 
questions  asked  were:  what  are  the  most  likely  ages  of  the  grantees  and  their 
activities;   are  there  specific   clusters  of  existence/service  matches. 


11-4 


Years 

Years 

in  Service 

in 

0-b 

6-10 

11-15 

16-2U 

21-25 

TOT 

Existence 

0-5 

7 

0 

0 

0 

0 

7 

6-10 

5 

9 

0 

0 

0 

14 

11-15 

1 

6 

7 

0 

0 

13 

16-20 

0 

1 

0 

2 

0 

3 

21-25 

0 

0 

0 

0 

1 

1 

26-30 

0 

1 

0 

0 

0 

1 

31-35 

0 

0 

1 

0 

0 

1 

36-40 

0 

0 

0 

0 

0 

0 

41-45 

0 

0 

0 

0 

0 

0 

46-50 

1 

0 

0 

0 

0 

1 

GT  50 

0 

1 

0 

0 

0 

1 

TOTAL 

14 

17 

8 

2 

1 

42 

Missing: 

Service  5; 

Existence 

2;   Both  9; 

Total    16 

Exhibit  5:     Years   in  Service  by   Years   in  Existence 

Neither  the  services  proviaed  nor  the  organizations  themselves  represent 
activities  of  long-standing.  Seventy-four  percent  of  the  projects  are  ten 
years  old  or  less,  while  eighty-one  percent  of  the  organizations  are  less  than 
fifteen.  If  these  two  sets  are  broken  out  further,  the  cases  lie  quite  widely 
scatterea  on  the  graph.  The  only  apparent  tendency  is  for  the  ages  of  the 
projects  and  the  organizations  to  equal,  which  may  indicate  that  the  project 
was  one  of  the  first  activities  undertaken  by  the  organization.  Most  of  tne 
grantees  were  part  of  entities  and  activities  that  were  older  than  the  period 
funded  by  the  Endowment. 

3.     Organizational    budget  by   Years   in   Service 

One  of  tne  assumptions  made  was  that  an  older,  more  established  organization 
would  be  more  likely  to  have  a  proportionately  higher  budget,  with  tne 
hypothesis  that  an  older  (and  thus  larger  organization)  woula  be  able  to 
implement    a    larger    project.      This    assumption    was    not    confirmed   Dy    the    data. 


1 1-5 


The  questions  to  De  adoressed,  therefore,  revolved  around  that  assumption: 
are  older  organizations  also  more  costly?  If  not,  is  there  a  distinction 
between  younger  and  older  organizations,  or  is  tnere  no  such  pattern?  Despite 
the  nigh  number  of  missing  cases,  this  assumption  is  borne  out  to  a  certain 
extent.  While  older  projects  are  more  likely  to  have  higner  budgets,  organiza- 
tions less  than  ten  years  old  are  just  as  likely  to  have  budgets  that  are  as 
nigh.  Thus,  while  the  range  of  budgets  for  organizations  over  ten  years  old 
is  from  $100,000  to  nore  than  $750,000,  the  range  of  budgets  for  organizations 
ten  years  or  younger  is  from  less  than  $100,000  to  more  than  3750,000.  Tne 
younger  organizations  have  a  slightly  greater  range,  which  is  presentea  in 
Exhibit  6.  There  is  a  bi  -modal  grouping  for  this  table:  organizations  five 
years  or  less  which  have  budgets  of  less  than  $100,000,  and  organizations  six 
to  ten  years  which  have  budgets  between  $100,000  to  3249,000,  wi  tn  six  cases  a 
piece. 


Years 

Organizational 

Budget 

in 

LT3100K 

3100- 

249K 

3250- 

499K 

3500- 

749K 

GT3750K 

T0TA 

Service 

0-5 

6 

2 

3 

2 

3 

16 

6-10 

1 

6 

3 

2 

4 

16 

11-15 

0 

1 

4 

1 

2 

8 

16-20 

0 

0 

1 

1 

0 

2 

21-25 

0 

0 

0 

0 

1 

1 

TOTAL 

7 

9 

11 

6 

10 

43 

Missing: 

15  cases 

Exhibit  6:     Organizational    Budget  by  Years   in   Service 

4.     The  Project  Budget  as  Percentage  of  the  Organizational    Budget 

Another  table  drawn  up  by  the  variable  of  years  in  service  was  the  percentage 
of  the  project's  budget  as  part  of  the  overall  organizational  budget.  An 
assumption  examined  in  this  table  was  that  the  project  percentage  would 
decrease  as  the  years  in  service  advanced,  that  is,  there  would  be  less 
reliance   on   the  Endowment  over   the  years   to  support  a    particular   project.     The 


1 1-6 


questions  to  be  answerea  were  whether  or  not  such  a  relationsnip  existea  ana 
what  particular  patterns  could  De  discerned.  Unfortunately,  the  information 
was  lacking  in  twenty-two  cases  out  of  a  total  of  fifty-eight,  which  makes  the 
responses   found  relatively   tentative. 


Years 

in  Service 

Percentage 

0-5 

6-10 

11-15 

16-20 

21-25 

TOTAL 

0-10 

5 

7 

4 

0 

0 

16 

11-20 

3 

1 

0 

0 

0 

4 

21-30 

0 

1 

1 

2 

1 

5 

31-40 

1 

1 

0 

0 

0 

2 

41-50 

1 

1 

0 

0 

0 

2 

51-60 

0 

0 

1 

0 

0 

1 

61-70 

0 

0 

0 

0 

0 

0 

71-80 

0 

0 

0 

0 

0 

0 

81-90 

0 

0 

0 

0 

0 

0 

91-100 

2 

2 

0    ' 

0 

0 

4 

GT  100 

1 

0 

1 

0 

0 

2 

TOTAL 

13 

13 

7 

2 

1 

36 

Missing: 

22 

cases 

Exhibit  7 

:     Percentage 

Project 

Budget  by 

Years  in 

Service 

It  seems  that  there  is  probaDly  an  inverse  relationship  between  the  years  of 
service  and  the  percentage  of  the  project  budget.  That  is,  as  the  years  in 
service  increase,  the  project  decreases  its  percentage  of  the  organizational 
budget.  This  could  be  due  either  to  growth  in  the  organizational  budget  or 
decline  in  the  overall  size  of  the  project  budget,  and,  judging  by  the  analyses 
of  individual  objectives,  it  seems  likely  to  be  some  combination  of  those  two 
factors.  Of  particular  interest  is  the  tendency  for  newer  projects  to  have  a 
higher  percentage  of  the  project  budget  in  the  organizational  one,  ana  also 
for  some  newer  projects  to  be  the  sole  activity   for  certain   organizations. 


II-7 


5.     Organizational    Budget  by   the  Percent  of  the  Project   budget 

The  questions  this  table  addresses  are  whether  or  not  a  pattern  exists  for  the 
relationship  Detween  these  two  variables  and  what  that  relationship  may  be. 

Basically,  the  larger  organizational  budgets  are  more  likely  to  have  a  smaller 
project  percentage,  and  is  borne  out  basea  on  two  preceaing  analyses;  namely, 
that  more  established  organizations  tended  to  have  slightly  higher  budgets, 
and  also  decreasing   project  percentages. 


Organizational    Budget 

LT3100K     3100-249K     3250-499K     35Q0-749K     GT37SOK     TOTAL 

6  2 

1  1 

0  2 
*         1  0 

1  0 
1  0 
0  0 
0  0 
0  0 
0  1 
0  0 
10  6 


Percentage 

LT3100K 

3100- 

0-10 

0 

2 

11-20 

1 

0 

21-30 

0 

2 

31-40 

3 

2 

41-50 

1 

0 

51-60 

0 

0 

61-70 

0 

0 

71-80 

0 

0 

81-90 

1 

0 

91-100 

1 

2 

GT  100 

1 

1 

TOTAL 

8 

9 

Missing: 

10  cases 

13 

23 

1 

4 

1 

5 

0 

6 

0 

2 

0 

1 

0 

0 

0 

0 

0 

1 

0 

4 

0 

2 

15 

48 

Exhibit  8:     Organizational    Budget  by  Percentage  Project   Budget 

Organizations  that  are  budgeted  at  lower  levels  seem  to  contain  tnose  for 
wnich  the  project  funded  is  the  sole  activity,  as  indicated  by  the  relatively 
higher  percents  for  the  project  budgets.  Most  projects  for  which  the  organiza- 
tional percentage  was  fifty  percent  or  more  were  found  at  the  two  lowest  ranges 
for  organizational   budgets.     Most  of  the  organizations  at  the  highest  budgetary 


II-6 


range  had  project  budgets  of  ten  percent  or  less.  Altogether,  however,  almost 
all  of  the  grantees  were  funded  at  less  than  fifty  percent,  and  almost  half  of 
all    the   grantees  were   funded  at  less   than   ten   percent. 

6.     NEA  Fundea  Percentage  of  the  Project  budget 

The  final  comparison  is  that  of  tne  project  budget  Dy  the  percentage  funded  by 
the  Endowment.  Questions  asked  were  based  on  the  premise  that  the  Endowment 
money  would  represent  a  larger  percentage  of  the  lower  project  budgets. 
Particular  queries  addressed  issues  of  distribution  of  the  amounts  fundea, 
average  budget  size  and  patterns  of  funaing.  Of  particular  note  on  tnis  taDle 
is  the  presence  of  all    fifty-eight  grantees. 

Project  Budget 
Percent       LT350K       350-100K       3151-250K       GT3250K       TOTAL 


0-10 

0 

* 

6 

3 

3 

12 

11-20 

6 

4 

3 

0 

13 

21-30 

4 

4 

0 

0 

b 

31-40 

8 

3 

1 

0 

12 

41-50 

12 

1 

0 

0 

13 

TOTAL 

30 

16 

7 

3 

58 

Exhibit  9:     Project  Budget  by  NEA  Funded  Percentage 

The  projects  which  had  a  greater  percentage  of  Endowment  funding  were  those  at 
the  lower  budget  ranges.  An  interesting  distribution  pattern  also  emerged, 
where  project  modes  were  found  at  the  0-20%  ranges  and  also  for  the  31-50% 
ranges.  There  were  significantly  fewer  cases  for  that  middle  (21-30%)  range, 
which  produces  an   invertea  normal    curve  in   terms   of  the  distribution   patterns. 

Most  of  the  projects  funded  had  budgets  in  the  lower  ranges  and  there  was  on 
inverse  relationship  between  the  percentage  of  Endowment  funding  and  the  bud- 
getary ranges. 


1 1-9 


C.     SUMMARY 

The  projects  funded  by  the  Endowment  tended  to  be  from  organizations  older 
than  the  funding  cycle  studied  (i.e.,  four  years),  usually  in  either  New  York 
City  or  other  major  metropolitan  areas.  The  projects  represented  newer 
endeavors  for  these  organizations,  but  rarely  represented  more  than  ten  percent 
of  that  organization's  buaget.  In  most  cases  the  Endowment  funding  represented 
more  of  the  project  budget  for  lower  budget  projects. 

The  following  findings  summarize  the  analyses  performed: 

o  Tne  most  frequent  comoination  of  grantee  location  with  target  area 
was  one  based  in  New  York  City  with  a  national    scope  of  activities. 

o  The  most  common  geographic  location  for  grantees,  however,  was 
Major  Metropolitan,  that  ( is,  outside  of  New  York  City.  'Major 
Metropolitan'  is  defined  more  precisely  in  Appendix  b.  This 
reinforces  the  Inter-Arts  Program's  mandate  to  advance  excellence 
and  implement  cross-disciplinary  projects  or  operations  on  a 
national  or  regional  level.  While  many  of  the  grantees  are  based 
in  New  York  City,  many  have  been  established  in  other  metropolitan 
areas  throughout  the  country.  These  grantees  are  usually  either 
regional  or  national  in  scope,  a  distinction  made  largely  due  to 
the  presence/ absence  of  existing  services  at  the  national  level 
and  also  to  the  intent  and  purpose  of  the  responsive  grantee 
organization. 

o  Neither  the  services  provided  nor  the  organizations  themselves 
represent  activities  of  long-standing,  as  74  percent  are  under  ten 
years  old.  The  organizations  represented  in  the  remaining  2d 
percent  are  based  on  existing  professional  organizations,  often 
within   an   academic  setting. 

o  The  organizational  oudgets  for  the  grantees  do  not  differ  depend- 
ing on  the  age  of  the  organization.  A  younger  organization  has 
approximately    the    same    range    of    budget   dollars    as    does    an    older 


11-10 


one,   although    older   organizations   are  slightly  more  likely   to  have 
higher  budgets,  based  on   the   Differentiation   in  budgeting  ranges. 

o  Organizations  with  greater  organizational  budgets  tend  to  have 
projects  which  account  for  proportionately  less  of  their  organiza- 
tional budgets.  This  is  reinforced  by  the  tendency  for  more 
established  organizations  to  have  slightly  higher  budgets,  witn 
projects  accounting  for  proportionately  less. 

o  Newer  projects  represent  more  of  the  organizational  budget  tnan 
more  established  ones.  This  is  probably  due  to  start-up  costs  and 
the  initial   concentration  of  resources. 

o  Projects  for  which  the  Endowment-funded  percentages  were  higher 
were  those  at  the  lower  budgetary  ranges  for  projects.  A  smaller 
project  tended  to  have  proportionately  more  Endowment  funding  than 
a  larger  project.  t    ■ 

o  In  general,  newer  projects  are  more  cost-intensive  than  older  ones 
in  terms  of  the  organization's  resources. 

The  more  general  management  characteristics  described  in  this  section  provide 
some  informational  background  to  the  following  chapters  containing  analyses  of 
each  objective.  The  following  sections  provide  an  introduction  to  those 
analyses. 

1 .     Analytical    Divisions 

The  types  of  grantees  funded,  the  activities  for  which  they  are  funded  and  the 
types  of  methods  employed  vary  widely.  The  subsequent  division  of  two  of  the 
objectives  studied  was  initiated  due  to  the  extensive  differences  in  those 
methods,  and  because  tnere  were  sufficient  cases  to  make  such  a  division 
defensible.  Most  of  the  other  objectives  coul  a  also  have  been  separated  into 
smaller  groups  as  well,  using  the  rule  of  differing  methodologies,  but  none  of 
those    objectives     contained    sufficient    grantees     to    make    such     a    regrouping 


11-11 


feasible.  For  example,  the  technical  assistance  objective  was  aiviaea  into 
Workshop  Assistance,  Scholarship  Assistance  and  Technical  Assistance,  largely 
due  to  the  differences  encountered  with  the  scope  of  service.  It  did  not  seem 
justifiable  to  compare  an  organization  which  provided  Scholarship  Assistance, 
which  is  a  yery  specific  and  restricted  activity,  with  an  organization  whicn 
provided  a  much  broader  range  of  Technical    Assistance. 

2.     Stability  of  Grantee  tetivities 

Each  of  the  objectives  is  distinguished  initially  by  the  types  of  activities 
for  wtu'ch  the  grantees  are  funded.  Grantees  may  change  the  activities  for 
which  they  are  seeking  Endowment  support.  Two  particular  cases  are  Performing 
Arts  Services  and  Film  in  the  Cities,  both  of  which  were  funded  for  several 
years  under  the  business  development  objective.  In  their  last  year  fundea, 
Performing  Arts  Services  switched  to  management  skills,  and  Film  in  the  Cities 
to  financial  support:  the  former  to  produce  manuals  on  business  development, 
and  the  latter  to  develop  sources  of  financing  for  those  organizations  it  had 
helped  develop.  Both  are  logical  transitions  in  the  life  of  the  grantee 
organizations.  They  may  also  indicate  a  high  degree  of  responsiveness  to 
demand  for  particular  services. 

The  flexibility  of  the  grantee  organizations  can  be  construed  as  either  a 
strength  or  a  weakness.  Many  of  the  grantees  altered  their  methodologies  and 
scope  on  a  yearly  basis,  adding  or  deleting  services  in  order  to  make  their 
services  strongest  and  most  attractive  to  their  constituents.  The 
Massachusetts  Cultural  Alliance  is  a  good  example  of  this  type  of  grantee,  as 
it  consistently  expanded  its  interests  in  management  skills  and  its  own 
organizational  development,  with  activities  ranging  from  developing  publica- 
tions to  requesting  in-kind  contributions  from  local  businesses  for  their 
constituents,  as  well  as  providing  technical  assistance  in  job  searches,  and 
access  to  facilities  and  meetings.  Some  of  the  grantees  refined  a  strategy 
developed  early  on  in  the  organization's  life,  methodically  selecting  or 
rejecting  particular  courses  or  activities.  The  Sangamon  State  University  is 
probably  the  best  example  of  this  fine-tuning  process.  Over  the  course  of  the 
four   years    funded    (that  were   studied    in    this   report),    the  basic   structure   of 


11-12 


scholarship  assistance  to  attend  a  two-week  workshop  did  not  alter.  Tne 
courses  changed  Dased  upon  student  evaluations,  due  to  particular  topical 
issues   and  the  availability  of  particular  specialists. 

This  flexibility  may  also  reflect  the  grantees'  own  organization  instability. 
Tne  Association  for  Resources  and  Technical  Services  (ARTS)  is  a  prime  example 
of  this,  as  demonstrated  by  tne  frequent  turn-over  in  executive  directors,  tne 
activities  that  changea  as  frequently,  and  the  eventual  dissolution  of  the 
organization. 


11-13 


III.      ANALYSIS   OF  Th£    TECHNICAL  ASSISTANCE   OBJECTIVE 


A.      INTRODUCTION 

OBJECTIVE  A:  Determine  the  extent  to  wnich  projects  funded  under  this 
Category  serve  to  develop  management  skills  for  administrators  and  Directors 
of  arts  organizations. 

1 .     Analytical    Divisions 

Once  the  22  grantees  under  this  objective  nad  been  examined,  i  t  was  found 
that  the  major  outputs  of  these  grantees  differed  to  the  point  wnere  it 
seemed  useful  to  split  these  into  three  subobjectives,  as  the  scope  and 
methodology  of  the  three  groups  of  grantees  seemed  to  be  organized  around 
those  di  fferences. 

These  outputs  were:  (1  )  Technical  Assistance,  (2)  Workshop  Assistance,  and  (3) 
Scholarship  Assistance.  A  list  of  these  distributions  is  found  in  Exhibit  10. 
Scholarship  Assistance  consisted  of  grantees  who  provided  scholarships  or 
tuition  assistance  for  participation  in  workshops  or  conferences.  Generally, 
these  workshops  were  ones  that  the  grantee  itself  was  sponsoring,  but  the 
focus  of  the  Endowment  assistance  was  on  the  financial  aid  to  participants. 
Workshop  Assistance  consisted  of  grantees  who  produced  workshops  and/or  con- 
ferences to  train  artists  and  arts  organizations  in  management  techniques. 
Technical  Assistance,  by  default,  is  everything  but  workshops  and  scholarships: 
in  effect,  this  ranges  from  inoividual  ized  consul  ting -type  agreements  to 
serving  as  tne  central  location  for  regional  or  ethnic  interests.  While  these 
grantees  may  do  training,  it  is  not  their  principal  focus,  which  is  to  develop 
new  programs  for  incorporating  the  arts  into  community  activities  and  to 
provide  and  promote  opportunities  for  artists  and  arts  organizations  to 
develop  and  refine  their  skills. 


III-l 


TECHNICAL 
ASSISTANCE 


YEARS 
FUNDED 


WORKSHOP 
ASSISTANCE 


YEARS 
FUNDED 


SCHOLARSHIP 
ASSISTANCE 


YEARS 
FUNDED 


AHA 


ARTS 


ACUCAA 


Graduate  School    of  3 

Community   Dvlpt. 


Cal  ifornia  Confedera-     4 
ation  of  the  Arts 


Gol  den  Gate 
University 


Chinese-American 
Arts  Council 


1 


Community  Art 
Resources 


Sangamon   State 
University 


New  Performance 
Gal  1  ery 


CHAC 


Mass.   Cul  tural 
Al  1  i  an  ce 


3  Cultural    Alliance  of      4 

Greater  Washington 


Haleakala,   Inc. 


1 


Publ  ishing  Center  for    4 
Cultural    Resources 


Western  States  Arts         1 
Foundation 

Southern  Art  Founda-       2 
tion 


Performing  Arts 
Services 


Greater  Philadel  phia       3 
Cul  tural    All  iance 


Opportunity   Resources     4  St.   Paul -Ramsey 

for  the  Arts  United  Arts   Fund 


SPACE 


1 


Technical      Assistance:       10     grantees;     22     grant    years.       Workshop     Assistance: 
grantees;   25  grant  years.     Scholarship  Assistance:     3   grantees;     9  grant  years 
GRAND  TOTAL:     22   grantees;   56   grant  years 

Exhibit  10:     Grantee   Distribution  by  Project   Type  and  Years  Funaed 


1 1 1-2 


Almost  two-thirds  (64%)  of  the  grantees  were  funded  for  multiple  years.  The 
average  years  funded  for  each  of  tne  major  outputs  of  tne  five-year  period 
examined  was: 

Technical    Assistance  2. 3  years 

workshop  Assistance  2.7  years 

Scholarship  Assistance  3.0  years 

Total    for  Objective  2.5  years. 

B.      GRANTEE   CHARACTERISTICS 

1 .     Project  Staffing 

In  terms  of  project  staffing  patterns,  the  Scholarship  Assistance  grantees 
required  far  less  personnel  time,  but  also  had  a  much  greater  professional/ 
support  ratio.  These  tables  are  presented  in  Exhibit  11.  Scholarship  Assis- 
tance comprised  short-term  projects,  usually  only  extending  for  several  wee<s 
immediately  preceding  the  workshop.  In  addition,  the  professional /support 
ratio  is  slightly  skewed  oy  the  addition  of  the  instructors  for  the  workshops 
themselves,  especially  for  Sangamon  State  University.  In  that  case,  tne 
workshop  would  last  two  weeks,  but  there  would  be  approximately  a  dozen 
instructors,  each  working  one  or  two  days. 

Personnel    Data 

Subobjectives  AVERAGE   PERSON  YEARS     PROFESSIONAL/SUPPORT  RATIO 

TECHNICAL   ASSISTANCE 
WORKSHOP  ASSISTANCE 
SCHOLARSHIP   ASSISTANCE 


1  .98 

1  .5 

1.99 

2.3 

:               o.4i 

4.3 

Exhibit  11:     Personnel    Data 

The  composition  of  the  personnel  varies  from  year  to  year  with  no  discern io  I  e 
patterns  in  terms  of  a  sheer  numerical  one.  That  is,  the  increases  and  de- 
creases   in    staffing    do   not    form  a    trend    as    the    grantee    progresses.      None    of 


1 1 1-3 


the  grantees  reported  volunteer  workers,  and  most  had  either  a  mixture  of  full- 
time  and  part-time  personnel  or  else  solely  part-time  personnel.  For  most 
grantees  it  would  seem  that  the  particular  project  funded  by  the  Endowment  was 
only  part  of  the  organization's  activities.  In  some  cases,  especially  for 
newer  grantees,  however,  this  was  not  so,  as  will  be  demonstrated  in  the  next 
section  on  budget  matters. 

2.     Organizational    Budget 

The  overall  organizational  budgets  reveal  some  interesting  information  about 
the  relative  size  of  these  organizations  at  the  time  of  their  application. 
Exhibit  12  provides  a  table  of  all  organizational  budgets,  from  the  perspective 
of  the  changes  by  eacn  grantee.  That  is,  what  is  the  range  of  the  organiza- 
tional budget  for  the  first  year  of  funding  and  also  for  any  year  where  that 
funding  may  have  changed.  In  this  way,  the  22  grantees  examined  produced  31 
cases  for  this  exhibit. 

Organizational    Budget 

Subobjectives  LT$100K     $100-249K     3250-499K     3500-749K     GT3750K 

TECHNICAL  ASSISTANCE 
WORKSHOP  ASSISTANCE 
SCHOLARSHIP  ASSISTANCE 

Exhibit  12:     Organizational    Budget  Distribution   (Pre-Grant) 

All  of  the  grantees  in  Technical  Assistance  who  changed  the  range  of  their 
organizational  budgets  increased  them.  Workshops  and  Scholarships  were  less 
directed  in  their  funding  changes,  but  tended  to  return  to  the  same  level. 
That  is,  they  may  have  either  increased  or  decreased  their  funding,  but 
returned  to  the  original    range  of  funding  the  following  year. 

Scholarship  Assistance  was  more  often  attempted  by  larger  grantee  organiza- 
tions. Both  Technical  Assistance  and  Worksnops  spanned  the  entire  range  of 
organizational   budgets. 


1 1 1-4 


2 

5 

5 

0 

1 

3 

5 

1 

0 

4 

0 

0 

1 

1 

3 

Almost  all  (90%)  of  the  grantees  were  involved  solely  wi  tn  service  aelivery. 
Those  that  also  included  aspects  of  planning  tended  to  drop  those  and  focus 
more  strictly  on  service  delivery  as   the   grant   period   progressed. 

3.  Project  Percentage  of  Organizational    budget 

Tne  project  budget  as  a  percentage  of  the  organizational  budget  reinforces  tne 
trend  for  scnolarship  assistance  to  be  a  function  of  a  larger  organization. 
The  average  percentage  and  the  specific  range  of  these  are  presented  in 
Exhibit  13. 

Project  Percent 

Subobjectives  AVERAGE   PERCENT  RANGE 

TECHNICAL  ASSISTANCE 
WORKSHOP  ASSISTANCE 
SCHOLARSHIP  ASSISTANCE 

Exhibit  13:     Percentage  of  the  Organizational    Budget  Represented  by   the 

Project  and  the  Range  of  that  Percentage 

A  particularly  interesting  point  emerges  from  an  examination  of  tne  ranges  of 
the  project  budget  percentages,  in  particular  the  presence  of  100  and  210.8  as 
the  upper  values  for  the  ranges.  In  some  cases  tne  project  was  the  organiza- 
tion: there  was  a  complete  overlap.  In  other  cases,  it  is  likely  tnat  the 
definition  of  organizational  budget  on  the  application  may  have  been  misinter- 
preted. 

4.  Project  Budget 

Project  budgets  were  examined  in  the  same  manner  as  the  organizational  budgets, 
focusing  on  the  changes  that  appeared.  Exhibit  14  contains  the  overall  at- 
tribution of  these  project  budgets. 


53.3 

1  .9  -   10U 

60.5 

0.5  -  210,8 

7.1 

0.2  -      17.7 

II 1-5 


7 

1 

4 

3 

4 

5 

3 

1 

2 

1 

0 

0 

Project  buagets 
Suboojectives  LT350K         350-15UK       $151-250K       GT32bOK 


TECHNICAL  ASSISTANCE 
WORKSHOP  ASSISTANCE 
SCHOLARSHIP  ASSISTANCE 


Exhibit  14:      Distribution  of  Project   Budgets 

Workshops  and  Scholarships  tend  to  cost  less  than  Technical  Assistance  pro- 
jects. This  may  be  a  function  of  their  narrower  scope,  i.e.,  the  project  is 
for  a  specific  event  or  series  of  events  with  strict  controls  established  over 
length,  duration,  and  possible  numbers  of  participants.  This  would  not  occur 
for  Technical  Assistance,  which  describes  particular  services  offered  (or  to 
be  offered)  that  are  more  general. 

5.     Years  in   Service 

Organizations  funded  by  the  Endowment  for  this  objective  had  been  in  existence 
for  an  average  of  seven  years  in  1985.  The  actual  averages  and  ranges  are 
described  in  Exhibit  15. 

Years  in   Service 

Subobjectives  AVERAGE  RANGE 

TECHNICAL  ASSISTANCE  6.8  1-14 

WORKSHOP   ASSISTANCE  6.8  3-12 

SCHOLARSHIP  ASSISTANCE  7.3  6-9 

Exhibit  15:     Average   Years    in   Service  and   Range 

A  cross-tabulation  of  the  project  budget  by  the  years  in  service  producea  Ex- 
hibit 16,  and  reveals  tnat  there  is  a  certain  tendency  for  newer  projects  to 
cost  less    than   more  established   ones,   although    almost  half  of  all    of   the   pro- 


1 1 1-6 


jects  examined  still  cost  less  than  $50,000.  Scholarship  Assistance  tended  to 
be  less  costly  over  time  tnan  the  other  two  types:  this  is  probaoly  aue  to 
the  longevity  of  the  programs   and  the  brief  duration  of  the  service. 

6.     Geographic   Locations 

There  were  two  variables  dealing  with  geograpny.  One  referred  to  the  area 
served  (or  targeted  to  be  served)  by  the  grantee  and  the  other  referred  to  the 
location  of  the  grantee  itself.  Most  of  the  grantees  served  a  constituency  in 
their  immediate  vicinity  and  also  a  more  widespread  one  outside  of  that  area. 
In  many  cases,  national  coverage  may  entail  activities  with  minimum  personal 
contact,  such  as  mailings  (newsletters,  etc.).  Thirty -two  percent  of  the 
grantees  are  listed  as  serving  more  than  one  area.  Most  grantees  were  either 
regional    or   national    in    their    primary    focus:      this    tallies  very   closely  with 

the  Endowment's   goals   for  the  award  of  the  grant. 

« 

Project  Budget 


Years   in 

Service 

LT350K 

$51-150K 

3151-250K 

GT3250K 

TOTAL 

0-5 

4 

80% 
44.4% 

1 
20% 
50% 

0 

0% 
0% 

0 

0% 

0% 

5 

100% 
29.4% 

NO. 
ROWPCT. 
COLPCT. 

6-10 

3 

42.9% 
33.3% 

1 

14.3% 
50% 

3 
42.9% 
75% 

0 

0% 

0% 

7 
100% 
41.2% 

NO. 
ROWPCT. 
COLPCT. 

11-15 

2 
40% 
22.2% 

0 

0% 

0% 

1 
20% 
25% 

2 

40% 
100% 

5 
100% 
29.4% 

NO. 
ROWPCT. 
COLPCT. 

TOTAL 

9 

52.9% 

100% 

2 

11  .8% 
100% 

4 

23.5% 
100% 

2 

11  .8% 
100% 

17 
100% 
100% 

NO. 
ROWPCT. 
COLPCT. 

MISSING  CASES  =   5 

Average  years   in  service  by  project  budget: 


LT350K 
351-150K 
S151-250K 
GT3250K 


6.4 

5.5 

9.0 

12.0 


Exhibit  16 


Project   Buagets   By    Years   in   Service 
1 1 1-7 


A  surprising  number  of  the  grantees  are  from  outsiae  the  New  York  City  area, 
altnough  that  location  is  still  tne  dominant  one  for  Technical  Assistance 
activities.     This    is   presented  in   Exhibit  17. 

Grantee   Location 

Suoobjectives  NYC  MAJOR  METROPOLITAN         OTHER 

TECHNICAL   ASSISTANCE  6  3  1 

WORKSHOP  ASSISTANCE  0  5  4 

SCHOLARSHIP   ASSISTANCE  0  2  1 

TOTAL  6  10  6 

Exhibit  17:     Grantee  Location 

7.  Types  of  Products 

The  variety  of  activities  tnat  comprise  management  assistance  is  wery  wide. 
There  are  certain  anticipated  concentrations:  Scholarship  Assistance,  for 
example,  is  involved  primarily  with  scholarship  funds  and  workshops  (for  which 
those  scnolarships  are  offered).  Exhibit  18  presents  the  basic  distribution 
of  the  various  types  of  activities  in  rank  order  by  subobjective.  Each  grant 
file  was  examined  separately,  and  lists  multiple  products. 

Of  particular  note  is  the  range  and  variety  of  the  activities  funded  for  all 
of  tnese  subobjectives.  All  of  the  subobjectives  pertain  to  some  aspect  of 
interdisciplinary  arts  management  training,  but  the  range  of  activities  used 
to  interpret  that  mandate  is  astonishing.  These  activities  represent  varying 
degrees  of  success:  some  activities,  listed  as  one-time,  may  have  been  eitner 
failures,  special  events,  or  simply  refer  to  the  unique  year  funded.  No  judg- 
ment was  made,  therefore,  aoout  the  relative  levels  of  success  attached  to  any 
of  these  si  tuations. 

8.  Case  Studies 

Wnile  most  of  these  grantees  used  formal  methods  of  training,  such  as  work- 
shops,   many    also    used   less    formal    ones.      Particular    examples    from    technical 

II 1-8 


TECHNICAL 

WORKSHOP 

SCHOLARSHIP 

PRODUCT 

ASSISTANCE 

ASSISTANCE 

ASSISTANCE 

TOTA 

Work  shop/ seminar 

14 

22 

8 

44 

Newsletter 

10 

lb 

1 

11 

Consul  tancies 

11 

7 

0 

18 

Conference 

6 

9 

0 

15 

Scholarship  Fund 

0 

0 

9 

9 

Publications 

6 

3 

0 

9 

Placement  Services 

5 

0 

0 

5 

Directory 

3 

2 

0 

5 

Production  Assistance 

4 

0 

0 

4 

Promotional   Activities 

4 

0 

0 

4 

Requests   for  Info. 

0 

'     '      4 

0 

4 

Ticket  Place 

0 

4 

0 

4 

Manual 

3 

0 

u 

3 

Internship  Program 

2 

1 

0 

3 

Festival 

2 

0 

0 

2 

Networks 

1 

1 

0 

2 

Association 

1 

0 

0 

Cal  endar 

1 

0 

0 

Certificate  Program 

0 

0 

1 

Computer  Hookup 

1 

0 

0 

Insurance  Plan 

1 

0 

0 

Needs  Assessment 

0 

• 

1 

0 

Plan   for  Eco.   Dvlpt. 

1 

0 

0 

Exhibit  18:     Frequency    Distribution  of   Types  of  Products 


111-9 


assistance  grantees  include  the  use  of  festivals  as  a  means  of  fostering  the 
development  of  conmuni ty-based  organizations,  as  the  Association  of  Hispanic 
Arts  or  tne  Chinese-American  Art  Council  did.  There  were  three  programs  which 
provided  a  wide  range  of  services  that  are  particularly  interesting,  the 
Graduate  School  for  Community  Development,  the  Massachusetts  Cultural  Alliance 
and  the  Publishing  Center  for  Cultural  Resources.  The  Graduate  School 
sponsored  an  extremely  holistic  approach  to  community  development,  estaDlishing 
ing  an  association  for  economic  development,  assemoling  a  kiosk  of  events 
(which  was  dismantled  in  the  evening  and  reassenblea  in  the  morning),  present- 
ing theatrical  events  and  running  a  gallery,  as  well  as  developing  a  manual 
for  these  activities,  coordinating  a  neighborhood  festival,  and  supervising 
workshops  and  otner  promotional  activities.  The  Massachusetts  Cultural 
Alliance  ran  meetings  and  produced  publications,  but  also  provided  extremely 
directed  assistance  to  the  artists  and  arts  organizations  in  its  community 
(primarily  Boston).  These  particular  services  included  maintaining  employment 
listings,  providing  health  insurance  and  coordinating  two  programs  with  the 
business  community  to  develop  matching  grants  and  in-kind  contributions . 
Access  to  various  media  and  a  computer  was  also  arranged  for  the  arts  constit- 
uencies. The  organization  also  directed  some  of  its  activities  inward,  with  a 
highly  successful  fundraising  ball.  The  last  organization  examined  was  the 
Publishing  Center  for  Cultural  Resources.  This  is  particularly  interesting 
because  it  proviaea  assistance  along  the  entire  gamut  of  publishing,  including 
services  in  planning,  producing,  printing,  and  finally  distributing  different 
types  of  documents.  Most  of  the  other  grantees  focused  on  several  or  one 
unique  aspects  of  technical  assistance:  this  is  the  only  one  that  follows 
such  a  clearly  marked  linear  sequence. 

Grantees  prOviaing  workshop  assistance  tended  to  address  those  concerns  more 
specifically  --  there  were  fewer  instances  of  activities  not  directly  related 
to  the  maintenance  or  development  of  workshops.  There  were  three  organiza- 
tions, however,  that  did  provide  a  diverse  range  of  services,  the  Cultural 
Alliance  of  Greater  Wasnington,  the  Greater  Philadelphia  Cultural  Alliance, 
and  the  St.  Paul -Ramsey  United  Arts  Fund.  The  Washington  group  also  provioed 
a  health  insurance  policy,  and  had  developed  a  successful  ticket  sales  booth. 
both  the  Pniladelphia  and  St.  Paul  organizations  provided  extremely  diverse 
services    to    their    constituents.      The    Greater    Philadelphia    Cultural     Alliance 


111-10 


provided  the  full  spectrum  of  workshop  and  workshop-related  activities:  it  was 
also  inaugurating  a  ticket  sales  operation  and  had  sponsored  a  city-wiae  puuli- 
ci  ty  campaign.  This  campaign  had  consistea  of  a  series  of  posters  displayed 
at  bus  shelters  and  the  development  of  a  series  of  publicity  guiaes  for  organi- 
zations. The  St.  Paul  organization  provided  internships,  ran  a  special  pro- 
jects and  advocacy  program,  conducted  needs  assessments  of  many  of  tne  local 
arts  organizations,  maintained  a  toll-free  phone  line  for  information  and 
advice,  and  provided  information  on  tax  and  legal  issues.  At  the  same  time, 
it  also  conducted  workshops  and  produced  a  variety  of  publications  about  its 
services  and  to  provide  its  constituents  with  updates  on  situations  in  the 
Twin  Cities  area . 

The  principal  distinguishing  characteristics  of  the  three  grantees  in  Scholar- 
ship Assistance  were  tne  use  of  academic  incentives  and  the  type  of  documenta- 
tion produced  by  the  workshops.  Continuing  Education  Units  (CEUs)  are  given 
for  workshops  sponsored  by  ACUCAA,  and  Golden  Gate  University  offers  botn  a 
certificate  and  a  master's  program.  While  Sangamon  State  does  not  offer  cred- 
its for  their  workshops,  they  do  provide  extensive  documentation  of  the  course 
contents. 

9.     Subject  Areas 

The  subjects  for  which  assistance  was  rendered  are  almost  as  broad  as  the 
types  of  products  and  are  shown  in  Exhibit  19.  It  should  be  stressed  tnat  the 
grantees  were  not  limited  to  one  subject  area,  or  one  product.  The  scope  of 
the  project  was  limited  by  only  two  factors:  (1)  the  money  available;  and  (2) 
the  grantees'  creativity. 


TECHNICAL 

WORKSHOP 

SCHOLARSHIP 

SUBJECT  AREAS 

ASSISTANCE 

ASSISTANCE 

ASSISTANCE 

TOTAL 

Audience  Development 

4 

8 

3 

15 

Financial    Mgt. 

3 

b 

3 

12 

Info.   Dissemination 

4 

4 

1 

9 

Other 

6 

2 

1 

9 

Organizational    Mgt. 

3 

4 

1 

8 

Conference  Mgt. 

2 

1 

2 

5 

Tour  Mgt. 

2 

3 

0 

5 

Planning 

1 
Exhibit  19: 

2 

Subject   Areas 

0 

3 

111-11 


If  one  assumes  that  the  activities  offered  most  frequently  are  also  the  ones 
most  in  demand,  then  one  can  conclude  tnat  audience  development  and  financial 
management  are  the  skills  most  in  demand.  These  drt  perhaps  the  most  general 
of  the  subject  areas  adaressed,  and  the  ones  most  likely  to  attract  the  widest 
numbers  of  participants,  as  it  becomes  imperative  ratner  rapidly  for  any 
organization  to  know  now  to  manage  money,  as  well  as  how  to  attract  and  retain 
participants. 

10.     Numbers   Served 

The  actual  numbers  served  by  the  various  grantees  varied  widely.  Missing, 
however,  was  the  most  common  value,  so  it  is  difficult  to  accurately  assess 
the  numbers  and  types  of  people  and/ or  organizations  reached  by  this  variety 
of  activities.  Some  grantees  focused  on  reaching  other  organizations,  while 
others  focusea  on  individuals  (either  artists  or  the  general  public)  and  some 
attracted  both.  In  this  respect,  a  low  number  may  refer  to  organizations  and 
could  actually  represent  the  maximum  which  could  be  served  by  the  grantee 
organization.  Another  factor  which  affects  these  numbers  is  tne  type  of 
product  the  grantee  produced:  a  newsletter  could  be  distributed  to  thousands 
of  people,  wnile  scholarship  assistance  would  only  be  offered  to  a  very   few. 

Of  the  ten  grantees  in  Technical  Assistance,  half  were  missing  values  of  the 
numbers  served  for  at  least  one  year.  Of  the  numbers  reneining,  the  scope  of 
service  varied  from  six  people  through  35,136,  with  a  mean  of  3,060.  Even 
repeat  grantees  reporting  for  multiple  years  shifted  drastically  each  year, 
although  most  of  these  figures  referred  primarily  to  individuals,  rather  than 
organizations. 

Of  the  nine  grantees  in  workshop  Assistance,  three  were  missing  values.  All 
of  tne  values  refer  to  both  organizations  and  indiviauals:  the  attendance 
figures  reflect  the  focus  of  the  workshops  themselves,  which  could  be  designea 
to  attract  members  of  organizations,  individuals,  or  both.  Some  of  tnese 
grantees  also  produced  newsletters.  The  range  varied  from  53  through  4&6.940, 
with  a  mean  of  32,277. 

Two  of  the  three  grantees  in  Scholarship  Assistance  provided  data,  which 
referred     to    the    numbers    of    organizations    served.       The    range    was     from    29 

111-12 


total  amount  requested,  but  a  grantee  that  requests  $20,000  for  a  project  witn 
a  proven  track  recora  and/or  is  known  by  tne  Panel  is  more  1  ikely  to  be 
reduced  proportionately  less  than  a  grantee  requesting  $10,000  which  also 
lacks  those  characteristics.  The  average  age  of  the  grantee  organizations  is 
approximately  equal  at  the  time  of  first  funding,  so  that  ranking  does  not 
appear  to  be  a  function  of  the  relative  institutionalization  of  the  umbrella 
organization. 

D-  Funding  Patterns.  More  than  70%  of  the  repeat  grantees  have  their  NEA 
funding  decreased  over  the  course  of  time.  This  is  due  to  several  factors, 
which  include  (1)  the  reduction  in  Inter-Arts  funds  and  thus  corresponding  cuts 
for  all  grantees,  (2)  changes  in  the  prioritization  of  grantees  and  thus  reduc- 
tion in  their  funds,  and/ or  (3)  monies  referred  to  as  start-up  or  graduation 
grants.  It  would  appear  that  the  Panel  recognizes  and  is  wary  of  the  tendency 
of  grantees  to  ask  for  the  same  amount  (if  not  more)  from  the  Endowment  each 
year,  and  is  attempting,  through  reductions  in  funding,  to  wean  grantees  away 
from  a  dependency  on  Endowment  monies. 

Of  tne  ten  grantees  whose  funding  decreased  over  time,  the  average  reduction 
was  fifty  percent  over  the  length  of  the  grant,  although  this  ranged  from  35 
to  75%.  An  examination  of  the  NEA  percentage  of  the  total  project  budget 
reveals  that  the  reduced  funding  usually  corresponds  with  overall  reductions 
in  the  project  budget,  as  there  were  only  four  cases  (out  of  a  possible  ten) 
where  the  decrease  in  Endowment  funding  corresponded  to  a  decrease  in  the 
percentage  of  the  Endowment's  contribution.  This  would  mean  that  additional 
funding  was  provided  from  otner  sources  to  offset  the  decrease  in  tne 
Endowment's  funding  and  that  the  overall  size  of  the  project  budget  did  not 
decrease.  In  six  of  the  cases  the  percentage  of  Endowment  funding  (despite 
the  reduction,  in  real  terms,  of  the  funds)  actually  increased,  indicating  a 
rather  drastic  reduction   in   the  project  budgets. 

C.      SUMMARY 

As  there  was  little  overlap  in  either  the  scope  or  the  types  of  activities 
performed,  it  would  be  difficult  to  pinpoint  exactly  the  types  of  activities 
that   comprise   management   assistance    and   create    a    general     typology.      None    of 


1 1 1-14 


the  grantees  replicated  their  activities  in  otner  areas,  and  similar  grantees 
(for  example,  CHAC,  ARTS,  and  AHA,  all  of  which  serve  predominately  Hispanic 
constituencies)  differentiate  themselves  primarily  oy  the  geographic  areas 
served  tnan  Dy  tne  services.  The  relative  merits  of  the  services  may  be  open 
to  considerable  debate,  and  it  is  clear  that  Panel  members  and  Endowment 
personnel  have  their  own  ranking  system  as  to  what  constitutes  a  good  or  Dad 
program. 

To  briefly  summarize  the  results  of  tnis  section,  it  was   found  that: 

o  Most  (64%)  of  the  grantees  were  funded  for  more  than  one  year. 
Most  of  these  also  had  their  Endowment  funding  decreased  over  time. 

o  Most  grantees  tended  to  increase  tneir  organizational  budgets  over 
the  course  of  the  period  studied.  This,  together  with  the  reduc- 
tion in  Endowment  funding,  may  indicate  that  these  organizations 
have  launched  themselves   into  sustainabil  ity . 

o  Almost  all  (90%)  of  the  grantees  were  involved  solely  with  service 
delivery  (as  opposed  to  planning  activities).  This  means  that  the 
grantees  are  actually  providing  services,  rather  tnan  assisting  in 
the  development  of  these  services. 

o  Technical  Assistance  projects  were  the  most  costly  for  this  objec- 
tive, probably  due  to  factors  of  scale  of  their  activities.  This 
type  of  project  tends  to  include  the  greatest  number  of  activities, 
which,  although  inter- related,  require  diverse  levels  of  management 
and  financial  resources. 

o  Scholarship  Assistance  was  more  often  attempted  by  larger  organiza- 
tions tnan  either  Workshop  or  Technical  Assistance.  This  is 
probably  due  to  the  relatively  high  cost  ana  short  duration  of 
this  activity. 

o  Newer  projects  cost  less  than  more  established  ones.  These 
projects  may  still  take  a  higher  percentage  of  the  organizational 
budget,  but  most  grantees   tend  to  start  out  on   a  modest  scale. 

111-15 


o  One-time  grantees  are  funded  at  lower  levels  than  repeat  grantees 
This  is  probably  due  to  the  effect  of  the  reputation  of  the  more 
established  grantees   on  Panel    decisions. 


1 1 1-16 


IV.      ANALYSIS   OF  THE   BUSINESS  DEVELOPMENT  OBJECTIVE 

A.  INTRODUCTION 

OBJECTIVE  B:  Determine  the  extent  to  which  projects  provide  business  prac- 
tices/services  that  cut  costs   or   increase  quality. 

Business  practices/ services  were  presumed  to  exist  for  one  of  three  reasons: 
(1  )  because  the  service  is  offered  at  below  market  costs  (such  as  projects 
that  buy  wholesale  art  supplies  and  then  distribute  them  at  cost),  (2)  because 
the  service  is  offered  at  greater  accessibility  to  members  of  the  arts  commun- 
ity (such  as  pooling  funds  and  purchasing  a  copier  to  serve  several  small  or- 
ganizations), and/ or  (3)  because  tne  service  has  an  arts  focus  (such  as  offer- 
ing bookkeeping  support  to  artists).  Increased  quality  and  cost  cutting  have 
been  defined  through   tnese  rationales. 

« 
There  were  nine   grants    studied   in    this    objective  which   were  received  by   four 
grantees.     Only  one  of  these  was  a  one-time  grantee. 

The  user  benefits  which  defined  this  objective  are  fairly  diverse  but  are  dis- 
tinctly interrelated.  All  of  the  grantees  encompassed  the  three  rationales, 
largely  because  these  grantees  provided  particular  services.  For  example,  Bay 
Area  Lawyers  trained  volunteers  to  help  artists  and  arts  organizations  with 
legal  issues.  This  legal  advice  is  very  definitely  provided  at  below  market 
costs,  which  provides  much  greater  accessibility  for  artists  and  arts  organi- 
zations, and,  at  the  same  time,  is  a  service  directed  to  that  population. 
Similar  situations  arise  with  the  other  three  grantees,  either  because  they 
are  providing  a  particular  service  or  because  the  scope  of  their  activities  is 
sufficiently  wide   to  extend  over  more   than   one  rationale. 

B.  GRANTEE   CHARACTERISTICS 

1 .     Management  Trai  ts 

The  management  variables  for  this  objective  are  of  some  interest,  as  these 
grantees  are  designed  to  provide  business  support  to  the  arts.  One  assumes 
that  the  grantee  organization  will    therefore  be  more  business-like. 

IV-1 


The  average  nunt>er  of  person-years  devoted  to  each  project  by  these  grantees 
was  6.7,  with  a  range  of  0.9  to  14.6.  The  professional/support  ratio  was 
2.6.  These  constitute  fairly  labor-intensive  activities,  as  the  average  staff 
member  worked  at  least  four  months  of  the  year  on  this  one  project.  All  of 
the  personnel  are  paid,  and  there  is  an  even  split  between  full-time,  part- 
time,  and  mixed  allocations    (that  is,  both   full-time  and   part-time). 

2.  Organizational    Buagets 

The  organizational  budgets  of  these  grantees  ran  the  gamut  from  under  $100,000 
through  more  than  3750,000.  While  all  of  the  repeat  grantees  had  changes  in 
their  organizational  budgets,  only  one  of  these  decreased  and  tne  other  two 
increased.  Projects  stuaied  accounted  for  an  average  of  29  percent  of  the 
organizational   buagets,  with  a  range  from  2.3  to  68.9   percent. 

3.  Project  Budgets  ,    ■ 

The  project  budgets  varied  yery  little  from  year  to  year.  Only  one  changed 
radically,  decreasing  by  almost  $100,000.  The  majority  of  the  projects  had 
budgets   greater  than  $250,000,  with  an  average  of  $215,000. 

The  distribution  of  project  budgets  for  all  the  grants  is  presented  in 
Exhibit  21. 


Buaget 
LT350K 


S50-150K 


S151-250K 


GT3250K 


NO.  3 

PCT.  33.3% 


1 
11  .U 


b 
55  .6 % 


Exhibit  21:      Distribution  of  Project   Budgets 


4.     Years  of  Service 


Data    on    the  number    of  years    that   the    grantee    has    been    providing   the   service 
was   missing   in    four  of  the  nine   cases.      Only    two   grantees  reported:      these  had 

IV-2 


an  average  of  12.4  years  and  a  range  of  2  through  16  years.  Because  so  few 
cases  responded,  the  years  the  organization  itself  had  been  in  operation  were 
used  to  examine  the  distribution  of  project  budget  by  the  years  in  service. 
The  organizational  lifespan  had  only  two  missing  values  (one  grantee),  with  an 
average  of  12.5  and  a  range   from  7   to  16. 

The  project  buaget  by  years  of  organization  is  presented  in  Exhibit  22.  The 
ranges  of  the  project  budget  are  presented  in  thousands  of  dollars,  with  the 
Years  in  Operation  serving  to  define  the  x-axis. 


Project 

Budget 

ars 

LT350K 

$50-150K 

S151-250K 

GT3250K 

TOTAL 

0-4 

0 

0 

0 

0 

0 

5-8 

1 

0 

0 

0 

1 

9-12 

2 

0 

.    0 

0 

2 

13-16 

0 

1 

0 

3 

4 

TOTAL  3  10  3  7 

MISSING  CASES:     2 

Exhibit  22:     Project  Budget  by  Age  of  Organization 

Most  of  these  grantees  are  part  of  older  organizations.  Those  grantees  whicn 
were  funded  at  the  lowest  level  were  Bay  Area  Lawyers  for  the  Arts  and  Film  in 
tne  Cities.  These  two  also  had  the  highest  project  percentages  of  Endowment 
funding,  which  indicates  that  these  may  represent  relatively  newer  ventures 
for  these  grantees. 

5.     Geographic  Locations 

The  geographic  distribution  of  these  grants  is  dependent  on  the  grantee  loca- 
tion and  was  yery  stable.  That  is,  the  grantees  tended  to  provide  services  to 
the   areas    near    to    their    own    locations.      Most   grantees    provioea   services    (as 


IV-3 


opposed  to  planning  them),  and  none  extended  their  areas  of  service.  The 
location  of  tne  grantees  themselves  was  somewhat  biased  in  favor  of  Mew  York 
City. 

6.     Types   of  Products 

The  types  of  products  developea  by  the  grantees  are  presented  in  rank  order  in 
Exhibit  23.  The  grantees  often  provided  more  than  one  service,  but  stressed 
either  assistance  in  implementing  some  aspect  of  business  or  assistance  in 
learning  how  to  implement  some  aspect  of  business. 


PRODUCT 


FREQUENCY 


Fiscal    Agent 
Technical   Assistance 
Education  Programs 

(workshops,  seminars, 
conferences) 
Publications 
Equipment  Access 
Production  Companies 
Training   (interns  & 

vol  unteers) 
Artists'  Project 
Exhibitions 
Library 
Presentations 
Program  Development 


5 

5 
5 


4 
2 
2 
2 


7.     Case  Studies 


Exhibit  23:     Types  of  Products 


All  of  the  four  grantees  in  this  objective  provided  a  different  range  of  activ- 
ities. Bay  Area  Lawyers  for  the  Arts  provided  relatively  formal  assistance 
through    presentations    and   training,    as    well    as    the    information    necessary    to 


IV-4 


puDlicize  and/ or  document  these  presentations.  Performing  Art  Services  pro- 
vided similar  training,  but  also  managed  a  pro  auction  company,  geared 
principally  to  providing  access  to  avant-garde  groups.  Film  in  the  Cities 
conducted  a  wide  range  of  service  programs,  as  well  as  more  formal  educational 
ones  and  also  provided  access  to  a  number  of  facilities,  such  as  darkrooms. 
Tne  Cultural  Council  Foundation  stressed  the  provision  of  services  principally 
to  groups  in  operation  less  than  eighteen  months,  and  created  two  tiers  of 
assistance:  basic  and  second  level,  which  corresponded  roughly  to  the  stages 
of  organizational    oevelopment. 

8.  Promotion  Techniques 

The  means  that  most  of  the  grantees  use  to  promote  their  own  organizations  and 
its  services   is  through  the  provision  of  specific  contractual   services. 

9.  Provision  of  Services 

Exhibit  24  presents  the  distributions  of  tne  services  provided  to  different 
types  of  people  and  organizations.  Grantees  can  provide  services  to  multiple 
types  of  people  and/ or  organizations,  as  demonstrated  in  the  numbers  served. 

PEOPLE 

Art 
Artists  Administrators  Others 

5  0  2 

ORGANIZATIONS 

Art  Producing/ 

Service  Presenting  IHE  Gov't.  Consulting 

1  9  2  2  0 

Exhibit  24:     Service  Directed  Toward  People  ana  Organizations 

Most  of  the  services  are  directed  toward  individual  artists  or  arts  organiza- 
tions (such  as  ballet  companies  or  theatre  groups).  While  some  of  these  ser- 
vices   are    also    provided   to    organizations    that  are  more   oriented   to   arts   ser- 


IV-5 


vice  and  training,  by  far  the  majority  of  the  services  provided  are  to  recipi- 
ents which  match   the  category's   purpose  yery  closely. 

In  terms  of  the  numbers  of  peopl  e/ organizations  actually  served  by  these  var- 
ied services,  this  variable  is  considerably  better  reported  than  other  objec- 
tives, as  only  two  of  the  grantees  did  not  provide  this  information.  The 
average  number  served  was  1,884,  with  a  range  from  69-12,178.  If  one  discounts 
that  high  outlier  number,  the  average  becomes  169.  Of  these  grantees,  two 
respona  solely  to  organizations  and  two  to  mixed  organizations  and  individuals. 
Grantees  serving  organizations  tend  to  have  fewer  numbers  served:  the 
services  to  organizations,  however,  will  usually  be  either  more  extensive  or 
will  involve  more  repetitions  (such  as  a  training  course,  offered  on  a  number 
of  occasions  to  members  of  the  organization). 

10.     Funding  Patterns 

The  average  Endowment  contribution  to  the  projects  budgets  was  14.3  percent, 
with  a  range  from  2.3  percent  through  44.2  percent.  As  presented  in  Exhibit 
25,  it  is  evident  that  Endowment  funding  has  been  relatively  stable  and  also 
that  the  grantees  are  adept  at  increasing  their  own  budgets,  as  the  percentage 
of  Endowment  funding  tends  to  decrease  despite  the  stability  of  that  funding. 


Grantee 


NEA  CONTRIBUTION 


PERCENTAGE  OF   TOTAL  PROJECT  BUDGET 


BAY  AREA  LAWYERS 


5000 


PERFORMING 
ART  SERVICES 

15000 
7500 

FILM  IN  THE 
CITIES 

10000 
10000 

CULTURAL  COUNCIL 
FOUNDATION 

25000 
30000 
18000 
25000 

11.3 

4.9 
2.6 

44.2 
43.6 

7.0 
7.4 
5.0 
2.4 


Exhibit  25:      Endowment  Funding 


IV-6 


C.     SUMMARY 

To  oriefly  summarize,  it  was   found  for  this  objective  that: 

o  Grantees  serving  organizations  serve  fewer  than  those  serving 
individuals,  but  usually  provide  multiple  and/ or  more  complex 
services  to  those  organizations. 

o  Projects  accounted  for  almost  a  third  of  the  organizational  budgets 
on  the  average.  This  may  indicate  that  these  projects  are 
relatively  new  initiatives,  or  that  these  initiatives  comprise  the 
principal   activities  of  the  grantee  organization. 

o  Most  of  the  grantees  are  part  of  older  organizations,  and  activi- 
ties funded  by  the  Endowment  tend  to  represent  newer  initiatives 
for  most,  but  not  all  ,  of  these  organizations. 

o  The  least  costly  projects  had  the  highest  percentages  of  Endowment 
funding.  In  several  cases,  these  were  new  initiatives  which  had 
not  yet  developed  more  varied  sources  of  funding.  There  is  also  a 
factor  of  scale  at  work:  the  same  dollar  amount  of  a  grant  will 
account  for  proportionately  more  of  a  project's  budget  if  that  is 
at  a  lower  level.  The  fact  that  the  Panel  would  recommend  funding 
at  such  a  relatively  high  level,  given  the  aforementioned  financial 
constraints,  is  indicative  of  their  perceptions  of  these  projects 
as  particularly  useful  and  appropriate  to  the  purposes  of  this 
Category. 

o  The  Endowment  funding  was  fairly  constant  in  terms  of  dollar 
amounts,  which,  given  the  financial  constraints  of  the  past  few 
years,  seems  to  indicate  a  certain  confidence  in  these  organiza- 
tions  in  general   and  of  the  projects   in  particular. 

o  Grantees  in  this  objective  are  adept  at  increasing  their  own 
budgets,  as  the  percentage  of  Endowment  funding  tends  to  decrease. 
This    is   an    important  point  in   terms   of  the  likelihood  of  the  pro- 


IV-7 


jects  to  continue  should  Endowment  funding  cease.  It  also 
indicates  that  tne  grantee  organizations  are  meeting  perceived 
needs  in  their  targeted  areas  of  service. 


1V-8 


V.      ANALYSIS   OF  THE   VOLUNTEER   DEVELOPMENT  OBJECTIVE 


A.      INTRODUCTION 

OBJECTIVE  C:  Determine  the  extent  to  which  projects  develop  new  sources  of 
volunteer  support  for  the  arts. 

This  objective  is  slightly  different  in  focus  than  the  others  examined,  as  the 
grantees  do  not  provide  a  service,  but  rather  provide  support  directly  to 
other  organizations.  The  grantees  do  not  train  or  provide  facilities  for  the 
organizations  themselves  to  perform  these  particular  activities,  but  instead 
actively  recruit  people  wno  will  carry  out  specific  tasks  for  the  arts 
organizations.  This  therefore  contributes  only  indirectly  to  the  increased 
institutional  capacities  of  the  arts  organizations:  by  providing  free 
services,  financial  resources  can  be  reallocated  to  other  areas,  and  by 
providing  a  human  resource,  the  potential  exists  for  the  eventual  institution- 
alization by  trie  arts  organization  of  that  resource  person  and  the  various 
practices  developed  by  that  individual. 

The  approach  to  this  objective  was  altered  to  match  this  shift  in  emphasis. 
Information  was  collected  about  both  the  volunteers  and  the  beneficiary 
organizations.     In  particular,  these  included: 

o  Types  of  volunteers  to  be  recruited; 

o  Identification  of  sources  of  volunteers; 

o  Strategies  used  to  recruit  volunteers; 

o  Identification  of  tne  primary  beneficiary  of  service; 

o  Actions   the  beneficiary   organization   has    used    to    institutionalize 
activities  for  the  recruitment  of  volunteers. 


V-l 


The  resulting  data  analysis  addresses  the  additional  questions  of  whether  the 
organizations  recruit  volunteers  for  their  own  needs  or  for  the  needs  of  other 
organizations,  and  whether  or  not  the  projects  have  established  the  necessary 
elements  for  volunteer  recruitments  such  as  the  types  of  volunteers  to  be 
found,  placement  procedures  and  the  strategies  used  to  recruit  volunteers. 

B.      GRANTEE  CHARACTERISTICS 

There  are  five  grantees  under  this  objective,  which  were  awarded  a  total  of 
fifteen  grants.  Three  of  these  five  grantees  extended  for  the  entire  period 
studied  (four  fiscal  years). 

1 .  Management  Trai  ts 

There  was  a  fairly  high  ratio  of  support  to  professional  staff,  with  one 
support  person  for  e\jery  2.4  professionals.  While  all  of  the  staff  were  paid, 
there  is  a  wide  variety  of  distributed  time.  Two  of  the  five  grantees  used 
only  part-time  nelp,  two  used  a  mixture  of  part-time  and  full-time,  and  there 
was  only  one  which  used  solely  full-time  labor. 

There  was  an  average  of  2.3  person  years  expended  per  grant,  although  this 
ranged  from  3.1    (Volunteer  Lawyers  for  the  Arts)  to  2.0  (Penjerdel    Institute). 

2.  Organizational    Budget 

Of  the  five  grantees,  three  changed  their  organizational  budgets  substantially. 
Two  increased,  and  the  remaining  one  first  decreased  and  then  increased.  Of 
all  five,  the  one-time  grantee  was  the  most  expensive.  Despite  the  movement 
from  range  to  range,  there  is  a  tendency  for  these  organizations  to  be  fairly 
large.     This   is  presented  in  Exhibit  26. 

Organizational    Budget 
Timeframe  LT$100K       $200-249K       3250-499K       $500-749K         GT3750K 

ALL   YEARS  2  4  5  3  1 

LAST  YEAR  ONLY  10  2  1  1 

Exhibit  26:     Organizational    Budget 

V-2 


3.  Project  Budget  as  Percentage  of  Organizational    Budget 

These  projects  tend  to  represent  fairly  substantial  proportions  of  the  organi- 
zational budgets.  The  grants  tend  to  remain  at  a  stable  percent  of  the  organ- 
izational budget,  as  well.  The  only  anomaly  was  produced  by  the  one-time 
grantee,  with  a  percentage  of  1.9%.  The  average  by  tne  last  year  for  all  the 
grantees  was  25.7%,  and,  correcting  for  that  one-time  grantee,  this  increases 
to  33.6%.     The  overall    average    (with   three  missing  values)   is  29.9%. 

4.  Project  Budget 

Contrary  to  the  changes  in  the  organizational  budgets,  the  project  budgets 
remained  fairly  stable.  Only  one  grantee  changed,  increasing  in  its  second 
year.  The  one-time  grantee,  which  was  the  most  expensive  in  its  organiza- 
tional budget,  was  one  of  the  least  costly  for  its  project  budget.  The  pro- 
ject budget  tends  to  increase  over  time,  as  demonstrated  by  the  average  dif- 
ferential. The  average  cost  for  all  fifteen  grantees  was  $89,800  (rounded  to 
the  nearest  hundred)  but  was  $97,000  (rounded  to  the  nearest  hundred)  for  the 
last  years  of  all  of  the  grantees.  Eighty  percent  of  the  grantees  fell  in  the 
$5Q-150K  range  by  their  last  year  funded. 

5.  Number  of  Years  the  Organization  Has  Provided  This  Service 

The  average  number  of  years  of  providing  service  for  all  the  grantees  is  9.2. 
While  the  one-time  grantee  was  in  operation  for  three  years,  the  average  for 
the  repeat  grantees  was  20.75.  These  are  older,  established  organizations, 
and  this  is  reinforced  by  the  stable  percentage  of  the  project  budget  in  an 
organizational  sense.  All  of  the  these  grantees  focused  on  service  delivery 
for  the  entire  period  under  review. 

The  project  budget  by  the  years  of  service  shows  the  predominance  of  the  $50- 
150,000  range   in   funding,   irrespective  of  the  years   in  service. 

6.  Geographic  Locations 

Of  the  five  grantees,  only  one  changed  its  target  area,  expanding  from  multi- 
state   to  national    over   the   course  of  several    consecutive  grants.     Most  of  the 

V-3 


grants  in  this  objective  are  either  national  or  local  in  scope,  and  most  of 
the  grantees  are  located  in  New  York  City.  Exhibit  27  presents  the  distribu- 
tion of  these  two  variables,  and  includes  the  change  noted  above,  so  tnat  the 
five  grantees  produce  a  total    of  six  cases. 


Target 

Area 

Grantee 

Location 

LOCAL 

STATE 

MULTI-STATE 

NATL. 

INTL. 

TOTAL 

NYC 

0 

0 

1 

3 

0 

4 

MAJOR  METROPOLITAN 

1 

0 

0 

0 

0 

1 

OTHER 

1 

0 

0 

0 

0 

1 

TOTAL 

2 

0 

1 

3 

0 

6 

Exhibit  27:     Grantee  Location  by  Target  Area 

Fully   half  of   these   grantees   are  based   in    New  York   City   and   have  a   national 
impact. 

7.     Vol  unteers 

There  are  three  variables  specific  to  this  objective  which  examine  the  types 
and  sources  of  volunteers  used.  These  variables  are:  sources  of  volunteers, 
types  of  volunteers,  and  recruitment  strategies.  Each  of  these  is  examined 
separately  and  then  tabulated  with  another  variable.  All  of  these  variables 
could  be  multiple:  grantees  were  not  limited  to  a  single  recruitment 
strategy,  nor  a  unique  source  for  volunteers,  nor  a  single  type  of  recruit. 
The  last  grant  year  examined  was  used  in  this  analysis  for  all  of  these 
variables.  Most  {83%)  of  the  volunteers  were  found  in  private  industry,  and 
were  recruited  to  be  specialists  (S5%)  through  a  combination  of  direct  contact 
and  advertising. 

Most  of  the  grantees  remained  constant  in  their  choices  for  these  three  vari- 
ables for  every  year.  Exhibits  28-30  present  the  cross-tabulations  derived 
from  these  variables,  and  provide  further  reinforcement  for  the  types  of 
combinations  used  most  frequently  by  the  grantees.  These  analyses  again 
represent  possible  multiple  choices  and  are  drawn  solely  from  the  last  grant 
year  examined. 

V-4 


Types  of 

Sources  of  Volunteers 

Vol  unteers 

PRIVATE         CLEARING           OTHER 

ED. 

GENERAL 

INDUSTRY       HOUSE 

REFERRALS 

INSTITUTION 

PUBLIC 

OTHER 

BOARD  MEMBERS 

1 

0 

0 

0 

0 

U 

SPECIALISTS 

5 

0 

0 

1 

0 

0 

GENERALISTS 

3 

0 

0 

0 

0 

0 

SPECIAL   POP. 

0 

0 

0 

0 

0 

u 

OTHERS 

0 

0 

0 

1 

0 

u 

TOTAL 

9 

0 

0 

1 

0 

0 

Exhib 

it  28 

:     Types 

of 

Vol  unteers  i)y  2 

Sources  of  Volunteers 

Sources  of 

Recruitment  Strategy 

Vol  unteers 

DIRECT 

REFERRAL 

CONTACT 

ADVERTISING 

OTHER 

TOTAL 

PRIVATE    INDUSTRY 

1 

4 

4 

0 

9 

CLEARINGHOUSE 

0 

0 

0 

0 

0 

OTHER  REFERRALS 

0 

0 

0 

0 

0 

ED.    INSTITUTION 

0 

1 

1 

0 

2 

GENERAL  PUBLIC 

0 

0 

0 

0 

0 

OTHER 

0 

0 

0 

0 

0 

TOTAL 

1 

5 

5 

0 

11 

Exhib i 

t  29: 

Sources  of  Volunteers  by 

Recruitment  Strategy 

Types  of 

Recruitment 

Strategy 

Vol  unteers 

DIRECT 

- 

REFERRAL 

CONTACT 

ADVERTISING 

OTHER 

TOTAL 

BOARD  MEMBERS 

1 

0 

0 

0 

1 

SPECIALISTS 

1 

4 

4 

0 

9 

GENERALISTS 

0 

3 

3 

0 

6 

SPECIAL  POPULATION 

0 

0 

0 

0 

0 

OTHERS 

0 

0 

0 

0 

0 

TOTAL 

2 

7 

7 

0 

16 

Exhib 

it  30 

:     Ty  pes 

of 

Vol  unteers  by 

Recruitment  Strategy 

V-5 


It  is  clear  from  these  tables  that  the  most  common  techniques  are  to  recruit 
specialists  from  private  industry,  either  through  direct  contact  or  through 
advertising.  These  volunteers  are  then  trained  by  the  grantee  and  matched 
with  organizations  or  people  requesting/requiring  those  skills.  The  grantee 
is  the  primary  agent  institutionalizing  the  volunteers  and  is  responsible  for 
both  the  initial  identification  and  matching  processes,  and  also  for  the 
monitoring  and  supervision  of  the  volunteers  in  the  respective  beneficiary 
groups.  The  grantee  organization  may  take  some  combination  of  tne  actions 
1  isted  on  Exhibi  t  31 . 


ACTION 


FREQUENCY 


PERCENTAGE 


Training 

Eval  uation  Pol  icies 

Publ  i  cations 

Seminars 

Workshops 

Conference 

Monthly  Reports 

Reception 

Staff  and  Art  Group  Analysis 

Staff  Monitoring 

Total 

(6  values  missing) 


5 
4 
4 
3 
2 


23 


21.7 

17.4 

17.4 

13.0 

8.7 

4.3 

4.3 

4.3 

4.3 

4.3 

100.0 


Exhibit  31:     Actions  to  Institutionalize  Volunteers 

A  significant  number  of  grantees  did  not  record  this  variaole.  Most  of  the 
grantees  concentrated  on  training  the  volunteers,  not  in  their  respective 
disciplines,  but  rather  in  how  to  phrase  particular  concepts  and  applications 
in  terms  the  art  group  would  understand,  such  as  comparing  a  management 
strategy  to  an  orchestra  (that  is,  the  conductor  is  equivalent  to  a  project 
manager,  etc.).  Many  of  the  grantees  had  particular  strategies  to  evaluate 
the  volunteer  performance,  usually  by  efforts  on  the  part  of  staff  members  of 
the  grantee  organization,  although  occasionally  these  might  be  by  the 
volunteers  themselves. 


V-6 


It  is  clear  from  these  tables  that  the  most  common  techniques  are  to  recruit 
specialists  from  private  industry,  either  through  direct  contact  or  through 
advertising.  These  volunteers  are  then  trained  by  the  grantee  and  matched 
with  organizations  or  people  requesting/requiring  those  skills.  The  grantee 
is  the  primary  agent  institutionalizing  the  volunteers  and  is  responsible  for 
both  the  initial  identification  and  matching  processes,  and  also  for  the 
monitoring  and  supervision  of  the  volunteers  in  the  respective  beneficiary 
groups.  The  grantee  organization  may  take  some  combination  of  tne  actions 
1  isted  on  Exhibi  t  31 . 


ACTION 


FREQUENCY 

PERCENTAGE 

5 

21.7 

4 

17.4 

4 

17.4 

3 

13.0 

2 

8.7 

4.3 

4.3 

4.3 

4.3 

4.3 

23 

100.0 

Training 

Eval  uation  Pol  icies 

Publ  i  cations 

Seminars 

Workshops 

Conference 

Monthly  Reports 

Reception 

Staff  and  Art  Group  Analysis 

Staff  Monitoring 

Total 

(6  values  missing) 


Exhibit  31:     Actions  to  Institutionalize  Volunteers 

A  significant  number  of  grantees  did  not  record  this  variaole.  Most  of  the 
grantees  concentrated  on  training  the  volunteers,  not  in  their  respective 
disciplines,  but  rather  in  how  to  phrase  particular  concepts  and  applications 
in  terms  the  art  group  would  understand,  such  as  comparing  a  management 
strategy  to  an  orchestra  (that  is,  the  conductor  is  equivalent  to  a  project 
manager,  etc.).  Many  of  the  grantees  had  particular  strategies  to  evaluate 
the  volunteer  performance,  usually  by  efforts  on  the  part  of  staff  members  of 
the  grantee  organization,  although  occasionally  these  might  be  by  the 
volunteers  themselves. 


Y-6 


8.  Case  Studies 

Two  of  trie  five  grantees  had  begun  replicating  their  services  in  other 
cities.  These  two  were  tne  Volunteer  Urban  Consulting  Group  and  tne  Arts  and 
Business  Council.  The  former  was  extending  its  organization's  services  to 
other  cities  through  the  development  of  a  manual  and  the  establishment  of  botn 
basic  volunteer  and  board  candioates  projects,  as  well  as  a  mailing  of  tne  or- 
ganization's brochure.  The  Arts  and  business  Council,  on  the  other  hand,  ex- 
tended its  expertise  to  other  organizations  interested  in  starting  volunteer 
programs  in  their  cities,  rather  than  simply  increasing  the  size  of  the  Arts 
and  Business  Council.  In  point  of  fact,  the  Cornish  Institute  was  one  of  the 
first  offsprings  of  this  process,  and  tne  strategies  which  had  made  the  Arts 
and  Business  Council  successful  (such  as  the  extensive  staff  monitoring  of 
volunteers  and  the  initial  assessment  of  the  arts  group's  needs)  were  trans- 
planted to  a  number  of  locations.  This  was  done  usually  with  the  assistance 
of  a  staff  member  of  the  Arts  and  Business  Council,  but  the  new  organization 
was  treated  as  an  adjunct  organization,  rather  than  as  an  extension  of  the 
Arts  and  Business  Council. 

9.  Numbers  Served 

All  of  the  grantees  served  a  mixed  population  of  individuals  and  arts  organiza- 
tions. These  figures  varied  considerably  from  year  to  year,  and  were  reported 
in  three  or  four  instances.  The  averages  for  individuals  were  greater  than 
those  for  organizations  alone,  continuing  the  trend  begun  in  Objectives  A  and 
B.  The  evidence  for  varied  service  figures  is  clear  from  a  comparison  of  the 
total  numbers  served  for  all  years  (815)  with  the  total  numbers  served  for  the 
last  year  alone  (374),   a  reduction  by  slightly  more  than  a  factor  of  two. 

10.  NEA  Contribution 

The  NEA  funding  levels  for  this  objective  do  not  follow  a  consistent  pattern. 
The  percentages  of  total  project  cost  and  the  actual  dollar  amounts  are  pre- 
sented in  Exhibit  32. 


V-7 


GRANTEE 

PERCENTAGE 

DOLLAR   AMOUNT 

Vol  unteer 

11  .6 

12500 

Urban 

12.1 

15000 

Consul  ting 

12.4 

13500 

Group 

13.2 

18500 

Vol  unteer 

30.2 

15000 

Lawyers 

24.8 

1500U 

for   the 

18.9 

15000 

Arts 

16.1 

15000 

Penjerdel 

7.7 

5000 

Foundation 

4.2 

3000 

AVERAGE 


14875 


15000 


Cornish  Insti  tute 


11.4 


5000 


4000 
5000 


Arts  and 
Business 
Council 


15.2 
20.8 
22.7 
14.5 


12500 
20000 
20000 
20000 


18125 


TOTAL  AVG.    (ALL   YEARS) 
TOTAL  AVG.    (LAST  YEAR) 


15.0 
11.9 


13667 
12300 


Exhibit  32:     NEA  Percentages  and  Dollar  Contributions 

If  the  Cornish  Institute  and  Penjerdel  Foundation  are  treated  as  single  year 
grantees,  (as  Penjerdel  was  only  funded  for  two  years  and  that  funding  stopped 
before  the  end  of  the  period  studied)  a  comparision  between  single  and  mul- 
tiple grantees  can  be  made.  The  average  first  year  funding  levels  are  35,000 
for  these  single  grantees  and  $13,300  for  the  multiple  ones,  a  difference  t)y  a 
factor  of  almost  three. 


V-8 


C.     SUMMARY 

To    briefly    summarize    this     section,     it    was     found    that    for     the    Volunteer 
Development  objective: 

o  The  project  budgets  were  fairly  stable,  although  Endowment  funding 
tends  to  decrease.  This  indicates  the  grantees'  ability  to  find 
additional   sources  of  funding. 

o  One-time  grantees  are  funded  at  lower  levels  than  repeat  ones. 
This  is  probaDly  due,  for  this  objective,  to  the  much  greater  age 
of  the  grantee  organizations  and  their  previously  established 
reputations. 

o  Grants      tended     to      represent      substantial      proportions      of  the 

organizational      budget,     despite     changes     in     that    budget.  The 

projects    funded    by    the    Endowment    comprised,    in    most    cases,  the 
principal    purpose  for  the  organization  as  a  whole. 

o  Volunteers  are  recruited  from  private  industry  as  specialists 
through  either  direct  contact  or  advertising.  This  appears  to  be 
the  principal  expenditure  of  the  project,  the  actual  recruiting 
strategies. 

o  Grantee  organizations  usually  combine  several  strategies  to 
institutionalize  the  volunteer  activities.  In  most  cases  these 
involve  techniques  that  either  the  staff  or  the  volunteer 
him/herself  uses,  such  as  evaluation   forms. 


V-9 


VI.      ANALYSIS   OF  TK  FINANCIAL  DEVELOPMENT  OBJECTIVE 


A.  INTRODUCTION 

OBJECTIVE  D:  Determine  the  extent  to  which  projects  assist  in  the  development 
of  financial   support  for  tne  arts. 

Projects  funaed  under  this  objective  possess  particular  resources  geared  to 
raising  revenues  or  facilitating  fund-raising  activities.  The  variables  used 
to  assess  these  resources  are: 

o  Type  of  revenue  to  be  targe  ted/ gen  era  ted 
o  Type  of  sources  for  revenue  generation 
o  Strategies   for  revenue  generation. 

Projects  may  be  developing  financial  support  for  their  own  organization,  or 
for  another.  The  project  focus  may  thus  be  internally  or  externally  directed, 
and  two  additional  variables  were  designed  to  assess  this,  (1)  classification 
of  projects  by  primary  beneficiary,  and  (2)  institutionalization  of  fund- 
raising  capacity  by  user  organizations.  These  particular  indicators  provide 
for  analysis  of  the  specific  factors  which  differentiate  this  objective  from 
the  others.  Together  with  the  more  generalized  management  and  institutional 
variables,  they  respond  to  the  issue  of  whether  or  not  an  organization  is 
structured  to  conduct  fund-raising  activities  for  itself  or  for  other 
organizations. 

B.  GRANTEE  CHARACTERISTICS 

There  are  ten  grantees  in  this  objective,  which  were  awarded  a  total  of  nine- 
teen grants.  Exhibit  33  presents  the  range  of  types  of  financial  development 
activities  funded. 


VI-1 


PROJECT  NUMBER 

Loan  Program  5 

Voucher  Program  4 

Cul  tural   Voucher  3 

Ticket  Central  2 

Materials  Voucher  2 

Info.  Dissemination  2 

Residencies  1 

Exhibit  33:     Project  Types 

Most  of  the  variables  examined  in  the  following  sections  refer  solely  to  the 
last  year  funded,  pre-grant  data,  although  in  some  instances,  multiple 
responses  were  possible  and  these  are  so  indicated.  The  last  year  funded  was 
chosen  because  it  represented  not  only  the  most  current  information  about  the 
grantee,  but  also  the  most  indicative  data  about  institutional  stability. 
Pre-grant  information  was  used  because  it  occurred  with  more  frequency  and 
reliability  than  post-grant  data. 

1 .     Management  Traits 

Due  to  the  extent  of  missing  data  and  the  unreliability  of  the  figures 
reported,  a  professional  to  support  staff  ratio  is  not  provided.  Six  of  the 
ten  grantees  were  missing  support  personnel  data,  and  two  were  also  missing 
professional  staff  information.  The  existing  data  does  show,  however,  that 
almost  all  grantees  changed  their  staffing  plans,  with  an  apparent  shift  to 
greater  reliance  on  non-professional    personnel. 

All  of  the  personnel  were  paid,  with  a  fairly  even  distribution  of  time. 
There  were  two  cases  each  for  full-time,  part-time,  and  mixed  use:  four 
grantees  were  missing  data  for  this  variable.  The  average  person  years  used 
for  the  objective  as  a  whole  was  1.14.  Factoring  out  one-time  and  repeat 
grantees  produces  these  two  averages:     0.83  (one-time)  and  1.25  (repeat). 


VI-2 


2.     Organizational    Budget 

The  organizational  budgets  were  evenly  divided  between  the  low  range  of  cost 
and  the  high.  This  is  presented  in  Exhibit  34.  Three  of  the  nine  reported 
cases  changed  their  range  (i.e.,  changed  by  an  amount  significant  enough  to 
put  their  cost  into  another  budgetary  range);  two  decreased  it  and  one 
increased. 

LT3100K  $100-24yK  $250-499K  3500-749K  GT3750K 


Missing:      1 

Exhibit  34:     Organizational    Budget 

3.  Project  Percentage  of  Organizational    Budget 

The  projects  were,  on  average,  fourteen  percent  of  the  organization's  total 
budget,  with  a  range  from  1-36  percent.  One-time  grantee  projects  tend  to 
comprise  a  higher  percentage  of  the  organizational  costs  (18  percent  as 
opposed  to  12  percent).  This  may  be  due  to  the  newness  of  the  venture,  or  it 
may  simply  represent  a  less  diversified  organization. 

4.  Project  Budget 

Most  of  the  projects  were  at  the  lowest  range  of  cost  (70  percent  in  the  less 
than  350,000  range).  The  remainder  were  at  the  next  highest  level,  providing 
an  overview  of  the  objective  as  one  of  the  least  costly.  These  project 
budgets  were  also  fairly  stable:  only  three  changed,  two  decreasing  and  one 
increasing.  The  nature  of  services  addressed  by  these  grantees  was  split 
40/60  between  planning  and  service  delivery. 


VI-3 


5.  Years  Providing  Service 

The  average  years  in  service  for  grantees  was  6.6  years,  with  a  range  from 
1-13  years.  Forty  percent  of  the  grantees  did  not  report  on  this  variable.  A 
comparison  with  the  average  years  in  existence  reveals  a  slightly  higher 
average  (8.7  years),  but  a   fairly  similar  range   (from  2-15  years). 

6.  Geographic  Locations 

The  two  variables  in  this  analysis  were  target  area  and  grantee  location. 
Grantees  were  likely  to  change  their  target  area  over  time,  and  all  who  did 
increased  the  area  covered.  Grantees  were  located  either  in  New  York  City  or 
another  major  metropolitan  area,  with  the  highest  number  of  cases  in  New  York 
City  for  statewide  activities  ana  in  the  major  metropolitan  ones  for  local 
activities.     This   is  presented  in  Exhibit  35. 

Target  Area 


Grantee 
Location 

LOCAL 
1 

STATE 

REGIONAL 

NAT'L 

INT' L 

TOTA 

NYC 

3 

0 

1 

0 

5 

METRO 

3 

0 

1 

1 

0 

5 

OTHER 

0 

0 

0 

0 

0 

0 

TOTAL 

4 

3 

1 

2 

0 

10 

Exhibit  35:     Target  Area  by  Grantee  Location 

The    service    provided    by    the    grantees  was    directed    primarily    at    producing/ 

presenting  organizations  or  other  types  of  organizations   (except  arts  service). 

Many  of  the  grantees    provided  services  to  more  than   one  type  of  organization, 
and  most  did  so  on  a  recurring  basis. 

7 .     Revenues 

The   following  three   variables    pertain    to    the  specific   purpose  of  this   objec- 
tive,  that  is,   the   grantees'    abilities  at   fund-raising  and    financial    develop- 


VI-4 


ment.  These  variables  are:  (1)  types  of  revenues,  (2)  revenue  sources,  and 
(3)  revenue  strategy.  All  of  these  had  multiple  responses  possible  and  in- 
deed, probable.  Many  of  these  variables  shifted  from  one  year  to  the  next,  in 
most  cases  expanding  the  number  of  types,  sources,  and/ or  strategies. 

Host  grantees  concentrated  on  contributions,  rather  than  earned  income  as  a 
type  of  revenue.  Repeat  grantees  focused  their  efforts  on  new  sources  of 
revenue,  and  concentrated  less  on  current  or  previous  ones.  Thirty  percent  of 
the  cases  for  revenue  strategy  were  missing  and  thirty  percent  changed  their 
tactics  to  include  more  approaches.  Of  tne  reported  strategies,  submission  of 
applications  for  funding  was  used  in  nearly  60  percent  of  the  cases. 

8.  Numbers  Served 

At  least  forty  percent  of  the  cases  for  both  service  requests  and  actually 
served  were  missing,  which  severely  inhibits  the  analysis  of  this  variable. 
Of  even  greater  concern  is  the  manifest  instability  of  the  responses  received, 
ranging  from  240-20,000  people,  and  10-100  organizations.  It  is  unlikelv  that 
20,000  people  could  have  even  received  mailings  from  the  grantees,  given  the 
size  of  the  project  budgets.  This  generally  refers  to  the  general  public 
which  could  benefit  from  ticket  voucher  programs.  Sixty  percent  of  the 
grantees  include  themselves  as  a  beneficiary,  whereas  40  percent  of  the 
grantees  are  providing  financial    development  services  for  other  organizations. 

9.  Repeat  vs.   One-Time  Grantees 

Of  the  ten  grantees  in  this  objective,  three  were  funded  for  one  year  alone. 
Repeat  grantees  tended  to  be  part  of  larger  organizations,  but  the  basic 
project  budgets  for  both  repeat  and  one-time  grantees  were  approximately  the 
same,  differing  only  in  the  project  percentage  of  the  organizational  budget. 

The  percentage  of  Endowment  funding  for  both  repeat  and  one-time  grantees  was 
almost  identical,  with  one-time  grantees  getting  28.3  percent  of  their  project 
budgets,  and  repeat  grantees  28.4  percent. 


VI-5 


10.     Funding  Patterns 

The  average  grant  from  the  Endowment  was  just  over  $10,000  for  all  of  the 
grantees  for  the  first  year  of  funding,  and  increased  to  $10,340  for  all  of  the 
years  funded.  Most  (70  percent)  of  the  grantees  varied  funding  levels 
considerably.  The  averages  and  ranges  of  Endowment  funding  are  presented  in 
Exhibit  3b  for  one-time  and  repeat  grantees   (first  year  of  funding). 

NEA  Funding 


Years 

Funaed 

AVERAGE 

RANGE 

ONE-TIME 

$10170 

35000-13500 

REPEAT 

$10700 

33000-25000 

TOTAL 

$10550 

33000-25000 

Exhibit  36: 

NEA  Fu 

n  di  n  g 

Repeat  grantees  were  funded  at  slightly  higher  levels  initially  and,  while 
this  amount  tended  to  decrease  over  time,  it  also  increased  absolutely  20 
percent. 

C.     SUMMARY 

To  briefly  summarize  the  results  of  this  objective,  it  was  found  that: 

o  All  of  the  grantees  were  based  either  in  New  York  City  or  in  other 
major  metropolitan  areas.  This  is  probably  due  to  the  presence  of 
smaller  presenting/performing  organizations  which  would  benefit 
from  collective  voucher-type  efforts. 

o  Projects  represent  an  average  of  only  14  percent  of  the  organiza- 
tional buagets.  One-time  grantees  have  a  slightly  higher  average 
(18  percent).  This  would  indicate  that  these  activities  do  not 
comprise  the  principal  ones  for  these  grantees,  but  are  instead 
used  to  provide  additional  support. 


VI-6 


o  All  projects  are  in  tne  lowest  ranges  of  project  budget:  this 
objective  is  one  of  the  least  costly,  perhaps  because  most  of  tne 
financial  development  activities  require  less  costly  personnel  to 
operate  them. 

o  Repeat  grantees  were  funded  at  higher  levels  initially,  and  this 
tended  to  represent  higner  proportions  of  the  project  budget. 
This  is  something  of  an  anomaly,  as  the  percentage  funded  by  the 
Endowment  tended  to  decrease  over  time  for  the  other  objectives 
examined  thus   far. 


VI-7 


VII.      ANALYSIS   OF  THE    INFORMATION  DISSEMINATION  OBJECTIVE 


A.  INTRODUCTION 

OBJECTIVE  E:  Determine  the  extent  to  which  projects  disseminate  information 
about  the  arts  to  artists,  art  administrators,  ana  other  arts  constituencies. 

The  objective  as  a  whole  has  several  characteristics  which  distinguish  it  from 
the  other  objectives.  These  indicators  address  factors  particular  to 
dissemination  projects  and  include: 

o   Identification  of  a  target  audience 

o  Selection  of  function  areas  to  be  addressed 

o  Strategies/mechanisms   for  disseminating  information 

o  The  dissemination  product  format. 

In  essence,  these  indicators  answer  tne  questions  of  who  needs  the  information, 
what  information  is  needed,  and  how  this  can  be  provided. 

As  with  the  objective  on  management  skills,  there  were  several  major  approach- 
es contained  in  this  objective.  These  approaches  differed  consistently,  and 
indicated  that  separate  treatment  would  highlight  these  distinctions,  rather 
than  a  composite  analysis  which  might  disguise  or  alter  the  essential  nature 
of  the  processes  of  information  dissemination. 

B.  GRANTEE  CHARACTERISTICS 

There  were  three  major  divisions  in  this  objective,  comprising  Clearinghouses, 
Publications,  and  Other.  Clearinghouses  are  distinguished  by  their  service  as 
depositories  of  specialized  information.  While  materials  may  be  published  by 
these  centers,  it  is  secondary  to  their  primary  function  as  sources  of  informa- 
tion. Publications,  on  the  other  hand,  include  those  organizations  for  which 
the  primary  purpose  is  the  production  and  distribution  of  various  types  of 
documents.  The  Other  category  emerged  from  the  examination  of  the  grantees 
who    did    not    correspond    to    either    of    the    above    functions    and    include,    for 


VII- 1 


example,  the  Japanese-American  Cultural  and  Community  Center  and  the  New  York 
City  Public  Library.  Funding  was  provided  to  the  former  to  develop  a  working 
group  for  those  particular  interests,  while  funding  to  the  Library  was 
provided  to  enable  it  to  extend  the  hours  of  operation  into  the  evening  for 
the  Performing  Arts  section. 

These  grantees  and  their  years  funded  are  presented  as  Exhibit  37.  There  are 
a  total   of  35   grants,  distributed  over  seventeen   grantees. 


CLEARINGHOUSE 

YEARS 
FUNDED 

PUBLICATIONS 

YEARS 

FUNDED 

OTHER 

YEARS 

FUNDED 

Center  for  Occupational 
Hazards 

4 

Anerican  Council 
for  the  Arts 

5 

Japanese- 
American 

Cultural   & 

Center  for  Arts  Informa- 
tion 

4 

Hospital    Audiences 
Incorporated 

» 
1 

Communi  ty 
Center 

1 

Arts  International 

ATLATL 

National  Council    on  the 
Aging 

1 
1 

4 

Artspace  Projects 

Metropolitan/ 
Regional    Arts 
Council 

1 
1 

NYC  Public 
Library 

1 

National  Guil  d  of  Com- 
munity Schools  of 
the  Arts 

2 

Theatre  Development 
Fund 

4 

National   Association 
of  Artists'    Organi- 
zations 

2 

Foundation   for  the  Com- 
munity of  Artists 

Institute  of  Alaskan 
Native  Arts 

Museums  Collaborative 


TOTAL:     11    grantees;   25  grants    (Clearinghouse) 
4  grantees;  8  grants  (Publications) 
2  grantees;   2  grants   (Other) 

Exhibit  37:     Grantee  Distribution  and  Years  of  Funding 


VI 1-2 


Data,  unless  otherwise  noted,  are  drawn  from  a  grantee's  final  year  funded  by 
the  Endowment,  and  from  the  pre-grant  information.  The  final  year  data  was 
used  as  most  representative  of  the  grantee's  current  financial  status,  while 
pre-grant  information  was   used  due  to  its  completeness  and  availability. 

Almost  all  of  the  grantees  focused  on  information  dissemination  alone  (71%). 
The  remainder  both  collected  and  disseminated  information,  and  were  found  only 
in  Clearinghouses. 

1 .  Management  Traits 

All  of  these  grantees  used  paid  personnel,  although  the  three  different  group- 
ings differ  with  regards  to  the  type  and  amount  of  personnel  used.  Clearing- 
houses have  a  2:1  ratio  of  professional  to  support  staff  and  are  more  likely 
to  use  a  mixture  of  full-time  and  part-time  help,  for  an  average  of  1.98 
person-years.  Publications  have  a  higher  professional  to  support  ratio  (3.2) 
and  are  more  likely  to  use  part-time  help  for  an  average  of  1.6  person  years. 
Other  has  the  lowest  professional  to  support  ratio  (0.6),  but  also  the  highest 
average  of  person  years  (3.46),  achieving  this  through  either  part-time  or 
mixed  allocations  of  personnel. 

2.  Organizational    Budget 

The  distribution  of  the  organizational  budgets  is  presented  in  Exhibit  38. 
There  is  a  tendency  for  organizations  supporting  clearinghouses  to  be  smaller 
than  those  producing  publications  or  other  activities. 

Organizational    Budget 
Subobjectives         LTS100K       S100-249K       3250-499K       3500-749K       GT375QK       TOTAL 


CLEARINGHOUSE* 

2 

3 

2 

1 

2 

10 

PUBLICATIONS 

1 

0 

1 

0 

2 

4 

OTHER 

0 

0 

0 

0 

2 

2 

TOTAL 

3 

3 

3 

1 

6 

16 

*  one  missing  value 


Exhibit  3b:     Organizational    Budget  Distribution 

VI 1-3 


3.  Project  Percentage  of  Organizational    Budget 

This  information  was  missing  in  a  total  of  six  cases,  which  rather  severely 
affects  a  population  of  only  seventeen.  The  figures  derived  from  this 
analysis  are  therefore  considerably  more  tentative  than  for  other  objectives 
with  better  representations  of  the  data.  Clearinghouses  had  the  highest 
average  percentage  (34.7%),  with  a  range  from  0.3-100.  If  the  100  is  factored 
out,  that  percentage  average  reduces  dramatically,  to  10.3%.  Publications  had 
an  average  percentage  of  15.1,  ranging  from  2.6  through  31.1.  This  is  a  much 
narrower  range  of  funding,  and  indicates  that  the  project  funded  by  the 
Endowment  comprises  a  smaller  portion  of  the  organizations'  budgets.  The  last 
group  (Other)  had  two  grantees,  one  of  which  was  missing  this  variable.  Tne 
percentage  for  Other  was  0.6%. 

4.  Project  Budget 

The  distribution  of  project  budgets  is  presented  in  Exhibit  39:  most  cf  these 
projects  fall  into  the  least  costly  range.  Further  examination  of  all  project 
budgets  demonstrates  that  projects  are  fairly  stable  in  their  budgets,  with  a 
slight  tendency  to  decrease. 


Subobjectives 

Project  Budgets 
LT350K             $50- 

5 

-150K 

$151 

-250K 

GT3250K 

TOTAL 

CLEARINGHOUSE 

5 

1 

0 

11 

PUBLICATIONS 

3 

0 

1 

0 

4 

OTHER 

0 

1 

1 

0 

2 

TOTAL 

8 

6 

3 

0 

17 

Exhibit  39: 

Distribution 

of  Pro 

ject 

Budgets 

5.     Years  Provi 

ding  Service 

• 

Neither  years  in  service  nor  years  in  existence  was  well  represented  for  Pub- 
lications and  Other,  with  those  variables  missing  in  25-100  percent  of  the 
cases.      Of    the   Clearinghouse   values,    the   average    lengtn    of   service   was    6.8 


VI 1-4 


years,  with  a  range  from  2-12  years.  The  average  age  of  the  grantee  organiza- 
tions was  13.8  years,  with  a  range  from  2-47  years.  In  one  of  these  cases, 
the  project  was  manifestly  the  sole  endeavor  of  the  organization,  as  the 
project  percentage  of  organizational  budget  was  100%.  Most  of  the  newer 
organizations  had  much  higher  percentages  of  the  organizational  budgets  than 
more  established  ones. 

The  distribution  for  Clearinghouses  by  years  of  service  and  project  budgets  is 
presented  in  Exhibit  40.  Most  of  the  projects  were  located  in  the  lowest 
ranges. 


Years 

0-5 

6-10 
11-15 
TOTAL 
Missing:     6 

Exhibit  40:     Years  Providing  Service  by  Project  budget  for  Clearinghouses 
6.     Geographic   Locations 

The  majority  (53%)  of  the  grantees  were  national  in  scope,  with  the  remainder 
scattered  fairly  evenly  across  the  other  target  areas.  A  surprising  number  of 
these  grantees  were  international  in  scope  (24%).  Almost  half  of  the  grantees 
were  also  based  in  New  York  City,  with  the  remainder  divided  between  major 
metropolitan  areas  and  other  locations.  These  were  very  stable,  as  were  the 
target  areas,  and  did  not  change.  A  cross-tabulation  of  these  two  variables 
is  presented  in  Exhibit  41,  and  indicates  that  the  largest  single  concentra- 
tion of  grantees  was  based  in  New  York  City  and  served  a  national    population. 


Project 
LTS50K 

Budget 

S50-150K 

$151-250K 

GT3250K 

TOTAL 

3 

2 

0 

0 

5 

2 

2 

1 

0 

5 

0 

1 

0 

& 

1 

5 

5 

1 

0 

11 

VII-5 


Grantee 

Target 

Area 

Location 

LOCAL 

STATE 

REGIONAL 

NATL. 

INTL. 

TOTAL 

NEW   YORK  CITY 

0 

0 

1 

b 

2 

8 

MAJOR  METRO. 

0 

0 

0 

3 

1 

4 

OTHER 

2 

1 

0        H 

1 

1 

5 

TOTAL 

2 

1 

1 

9 

4 

17 

Exhibit  41:     Grantee  Location  by  Target  Area 
7.     Information   Dissemination 

This  section  examines  those  factors  which  differentiate  this  objective  from 
the  others.      It  is  composed  of  the  following  variables: 

o  Target  Populations  and  Service 
o  Nature  of  Information 
o  Dissemination  Strategies. 

These  are  examined  separately  for  each  subobjective  and  then  combined.  Most 
of  the  variables  could  have  multiple  responses,  rather  than  a  single  one,  as 
for  a  budgetary  range.  Thus,  numbers  greater  than  the  population  of  17 
grantees  reflect  these  multiple  possibilities. 

a.     Target  Populations  and  Service 

These  variables  were  broken  into  three  principal  categories,  as  a  way  of 
examining  the  different  groups  which  could  be  targeted  and  served.  These 
categories  are  artists,  actninistrators,  and  organizations.  While  each  of 
these  has  separate  and  specific  needs  for  information,  it  seems  clear  that  the 
various  organizations  disseminating  information  .concentrated  primarily  on  the 
action  of  dissemination  rather  than  on  a  specific  target  category,  as  all  of 
the    three    groups    of   grantees    examined    addressed    the    needs    of   all    of    these 


VI 1-6 


Subobjectives 
Target 

Populations  Clearinghouse        Publications         Other        Total 

ARTIST 

Singl  e  Disci  pi  ine  1 

Mul  ti  disci  pi  i nary  10 

Special   Population  3 

Total  14 


ADMINISTRATORS 

Singl  e  Disci  pi  ine  1 

Mul  ti  disci  pi  i nary  9 

Special   Population  2 

Total  12 


1 

1 

3 

3 

1 

14 

0 

1 

4 

4 

3 

21 

1 

1 

3 

3 

1 

13 

0 

1 

3 

4 

3 

19 

ORGANIZATIONS 

Producing/Presenting  7 

Arts  Service  6 

Other  3 

General  Public  4 

Total  20 


GRAND  TOTAL  46  17  9  72 


4 

2 

13 

3 

0 

9 

1 

0 

4 

1 

1 

6 

9 

3 

32 

Exhibit  42:     Target  Populations 


VI 1-7 


groups,  without  a  significant  differentiation  in  the  types  of  strategies 
developed  to  match  the  organizational  neeas.  These  varied  target  groups  are 
presented  in  Exhibit  42.  Most  grantees  focused  on  mul  ti  -disci  pi  inary  popula- 
tions, generally  ones  which  produce  or  present  art.  Most  tended  toward 
serving  organizations  more  than   individual    artists  or  administrators. 

Of  the  grantees,  more  tnan  70  percent  were  missing  the  information  relating  to 
the  numbers  served  among  all  these  populations.  This  makes  it  unprofitable  to 
pursue  any   further  analysis  with   this  variable. 

b.     Nature  of  Information 

The  nature  of  the  information  disseminated  is  divided  fairly  evenly  between 
information  that  is  organization-specific,  project-specific,  or  specialized  in 
some  respect.  Clearinghouses  provide  more  information  about  their 
organizations,  as  well  as  the  other  two  principal  categories.  This 
distribution  is   presented  in  Exhibit  43. 

Nature  of  Information 
Subobjectives  ORG.  PROJECT  GENERAL  SPECIAL 

SPECIFIC         SPECIFIC  ARTS  INFORMATION         OTHER         TOTAL 


CLEARINGHOUSE 

9 

8 

4 

7 

0 

26 

PUBLICATIONS 

2 

4 

0 

3 

1 

10 

OTHER 

0 

0 

1 

2 

0 

3 

TOTAL 

11 

12 

5 

12 

1 

41 

Exhibi 

it  43: 

Nature 

of 

Information 

« 

c.     Dissemination 

Strategies 

The  grantees  all  used  the  same  basic  strategies  to  disseminate  information, 
irrespective  of  whether  that  information  was  directed  to  an  individual  or  an 
organization.  The  most  common  strategies  were  mailings  and  meetings,  followed 
by  personal  services  and  resources  centers.  This  is  presented  in  Exhibit  44, 
and  borne  out  by  the  varied  products  developed,  as  grantees  tended  to  use 
either  brochures  or  personal   contact  to  disseminate  information. 


VII-8 


Strategic 

?s 

Sub  objectives 
CLEARINGHOUSE 

PUBLICATIONS 

OTHER 

TOTAL 

MAILINGS 

11 

3 

0 

14 

MEETINGS 

6 

4 

1 

11 

PERSONAL 

SERVICES 

4 

2 

1 

7 

RESOURCE 

CENTER 

5 

1 

1 

7 

NETWORKS 

1 

0 

0 

1 

OTHER 

0 

1 

0 

1 

MEDIA 

0 

0 

0 

0 

TOTAL 

27 

11 

3 

41 

Exhibit  44:     Dissemination  Strategies 

While  most  (56%)  of  the  grantees  used  some  combination  of  mailings  and  meet- 
ings to  disseminate  information,  this  was  particularly  pronounced  for  Clear- 
inghouses, as  73  percent  did  at  least  these  two  activities. 

8.       Case  Studies 

There  were  four  grantees  of  special  interest  for  this  objective  as  a  whole  due 
to  their  range  of  activities.  These  were  the  Center  for  Occupational  Hazards, 
the  National   Center  for  the  Aging,  the  Theatre  Development  Fund,  and  Artspace. 

The  Center  for  Occupational  Hazards  interpreted  'meetings'  as  consultancies, 
lectures  and  workshops.  Their  mailings  were  extensive,  centering  around  the 
production  and  distribution  of  data  sheets  which  referred  to  a  particular 
hazard.  In  addition,  they  also  responded  to  individual  inquiries  both  by 
telephone  and  in-person. 

The  National  Center  on  the  Aging  sponsored  similar  basic  activities,  including 
an  assortment  of  mailings  and  meeting  strategies,  but  also  provided  more 
direct  assistance  in  managing  senior  and  model  projects,  as  well  as  exhibit 
preparation. 


V1I-9 


Theatre  Development  Fund  provided  a  somewhat  narrower  range  of  mailings/meet- 
ings, as  they  produced  a  brochure,  held  a  conference,  and  maintained  ongoing 
consultations.  The  services  provided  outside  of  these,  however,  were  quite 
diverse.  These  included  the  operation  of  a  ticket  booth,  a  system  of  vouchers 
for  particular  cultural  events,  studies  on  service  development  and  expansion, 
as  well   as   the  provision  of  sign   interpreters  for  theatrical    performances. 

Artspace  stressed  primarily  tenant/1  anal  ora  negotiations  in  its  individual 
consultancies,  and,  although  this  organization  also  conducted  worksnops  and 
conferences,  and  produced  several  publications,  its  primary  distinguishing 
characteristic  was  its  co-sponsorship  of  tne  Lowertown  Lofts  Design  Char- 
rette.  This  was  a  competition  to  design  apartments  which  would  combine  liv- 
ing/working spaces,  intended  as  the  renovation  of  an  older  warehouse  in  the 
area. 

9.       Funding  Patterns 

The  percentages  of  projects  funded  by  Endowment  monies  show  a  marked  differ- 
ence between  one-time  and  repeat  grantees,  despite  the  relative  stability  of 
that  funding. 

The  overall  averages  and  ranges  were  found  for  each  group  of  grantees,  together 
with  those  for  the  last  year  funded.     These  are  presented  in  Exhibit  45. 

NEA  Funding 
Subobjectives       OVERALL  AVERAGE  RANGE  LAST  YEAR  AVERAGE  RANGE 


CLEARINGHOUSE 

22.6% 

5.8-53.1% 

21.7% 

5.8-48.1% 

PUBLICATIONS 

20.2% 

4.9-41.0% 

25.7% 

4.9-41.0% 

OTHER 

30. U 

17.2-42.9% 

30.1% 

17.2-42.9% 

TOTAL 

23.0% 

4.9-53.1%     * 

23.6% 

4.9-48.1% 

Exhibi 

t  45: 

Percen 

tage 

of 

Total  Project 

Budget 

Funded  by 

NEA 

VII-10 


If  this  information  is  broken  out  by  one-time  and  repeat  grantees,  the  aver- 
ages tend  to  be  higher  for  one-time  grantees  than  for  repeat  ones:  26.1  to 
14.7.  Grantees  funded  for  a  single  year  are  more  dependent  on  Endowment 
funding,  even  though  the  amounts  actually  awarded  are  less.  This  percentage 
is  also  borne  out  in  the  actual  amounts  granted  to  organizations  for  the  first 
year  of  funding  examined,  although  it  is  not  as  pronounced  as  for  some  of  the 
other  objectives.     This   is   presented  in  Exhibit  46. 

Funding  Patterns 


Subobjectives 

ONE-TIME 

GRANT 

REPEAT 

GRANT 

AVERAGE 

RANGES 

AVERAGE 

RANGES 

CLEARINGHOUSE 

$8500 

33000-25000 

316600 

34000-50000 

PUBLICATIONS 

36700 

35000-10000 

335000 

335000 

OTHER 

321000 

31200-30000 

— 

— 

TOTAL 

$10450 

33000-30000 

$18300 

34000-50000 

Exhib- 

it  46:     Funding 

Patterns 

The  average  amount  granted  to  first  year  grantees  can  be  observed  to  aiffer 
depending  on  whether  or  not  the  grantee  was  then  funded  again.  As  with  the 
management  objective,  there  were  no  indications  in  the  grantee  file  as  to  how 
the  Panel   arrived  at  these  distinctions. 

C.     SUMMARY 

To  briefly  summarize  the  results   from  this  section,  it  was  found  that: 

o  Most  grantees  concentrated  on  the  primary  means  of  dissemination 
rather  than  on  specific  target  populations,  focusing  on  the 
development  of  general  strategies  to  disseminate  information.  It 
is  likely,  however,  that  those  grantees  which  also  did  consultan- 
cies tailored  their  presentations  to  the  needs  of  the  audience. 
This  is  not  explicitly  stated,  however,  anywhere  in  the 
documentation. 


VII-11 


o  Most  organizations  usea  some  combination  of  mailings  and  meetings 
to  disseminate  information,  whether  the  principal  focus  was  the 
Clearinghouse  or  the  Publications  subobjective.  This  is  an 
extremely  effective  strategy  for  the  dissemination  of  information, 
as  it  provides  both  general  ana  specific  information,  geared  for 
either  the  public  or  special    interests. 

o  Average  funding  from  the  Endowment  for  one-time  projects  comprised 
a  higher  percentage  of  that  project's  budget  than  for  repeat 
grantees.  Endowment  funding  was  more  important  to  these  one-time 
grantees,  and  their  award  indicates  that  these  are  brand-new 
initiatives,  sponsored  either  by  more  established  grantees  or 
fledgling  ones.  It  also  indicates  the  importance  of  the  Endowment 
funding  as  seed  money  at  the  start  of  these  new  activities. 

o  The  average  amount  awarded  to  the  grantees  was  greater  for  repeat 
grantees  than  for  one-time  grantees.  As  for  the  other  objectives, 
it  would  appear  that  the  continued  funding  is  based  both  on  the 
accomplishments  of  the  individual  grantees  and  on  Panel  knowledge 
of  their  functioning. 


VI 1-12 


VIII.      CONCLUSIONS   AND  RECOMMENDATIONS 


A.  OVERVIEW 

This  final  section  is  divided  into  four  parts,  (1)  Observations  from  the  Popu- 
lation; (2)  Population  Characteristics  and  Distribution;  (3)  Information  Util- 
ity; and  (4)  Recommendations.  The  first  part  provides  a  summary  of  the  infor- 
mation in  the  grant  files,  the  analyses  performed,  and  how  the  grantees 
perceive  the  application/accountability  processes  at  the  Endowment.  The  sec- 
ond part  contains  the  results  of  the  statistical  analyses  conducted  by  indi- 
vidual objective  and  also  by  the  grantees  as  a  whole,  and  synthesizes  those 
analyses  into  a  coherent  and  comprehensive  overview  of  the  findings.  The 
third  part  addresses  the  issue  of  what  use  the  Endowment  may  find  in  these 
results  and  this  report,  as  well  as  the  more  fundamental  issue  of  what  these 
results  may  actually  represent.  The  fourth  part  makes  recommendations  to 
Inter-Arts  about  data  collection  and  use,  as  well  as  to  the  Endowment  as  a 
whole  on  monitoring  functions. 

B.  OBSERVATIONS   FROM  THE   POPULATION 

The  synthesis  of  data  used  in  this  report  is  a  result  of  thorough  examinations 
of  the  Program's  grant  files  for  the  last  four  years.  Particular  variables 
examined  included  budgetary  information,  scope  and  extent  of  services,  project 
management  issues,  distribution  of  activities,  overall  impact  of  both  Endowment 
funding  and  of  the  projects  themselves,  as  well  as  an  analysis  of  the  funding 
cycle  itself.  The  grantees  contacted  via  telephone  interviews  searched  back 
files  for  several  days  to  locate  some  of  the  missing  information.  While  not 
all  of  the  searcnes  were  successful,  there  was  an  obvious  effort  to  uncover 
information  about  the  projects  and  organizations  from  far  back  in  the  gran- 
tee's institutional  memories.  Many  of  the  grantees  also  had  specific  sugges- 
tions for  the  data  collection  process  and  requirements. 

1 .     Information  Requirements 

This  evaluation  ascertained  that  most  of  the  post-grant  information  sought  was 
missing    from   the   files:      the    grantees    indicated   that,   while   they  may  have  had 

VIII-1 


that  information  at  one  time,  the  Endowment  aid  not  require  the  types  of 
documents  wnich  might  most  usefully  respond  to  those  issues,  nor  were  the 
various   funding  cycles  concurrent. 

Most  of  the  grantees  produced  annual  reports,  which  contained  the  overall 
financial  records  for  the  past  year.  While  some  of  these  grantees  included 
their  reports  in  the  grant  files,  these  were  not  required  and  had  no  bearing 
on  future  funding.  These  reports  could  be  a  wery  useful  source  of  post-grant 
information. 

The  problem  with  using  annual  reports,  however,  is  based  on  the  lack  of  stan- 
dardization of  the  fiscal  years.  Tne  Endowment  funds  from  July  through  June, 
yet  the  standard  fiscal  year  is  October  through  September.  Determining  amounts 
expended  from  several  years  ago  required  multiple  calculations  and  assumptions, 
and  those  figures  bore  little  relation  to  pre-grant  data.  In  addition,  yearly 
totals  and  other   information  were  out  of  kilter  with  the  funding  cycles. 

What  the  grantees  proposed,  therefore,  was  a  standardization  of  the  fiscal 
years,  and  the  inclusion  of  annual  reports,  either  as  part  of  the  Financial 
Status  Report,  or  to  replace  it. 

2.     Budgetary  Constraints   and  Concerns 

Another  concern  mentioned  was  the  scope  of  the  application  and  the  overall 
content  of  the  grant  files,  in  particular  the  budgetary  information.  The 
budgets  developed  for  the  application  bear  only  a  limited  resemblance  to  the 
actualities  of  the  grantee's  financial  status  for  the  extent  of  the  grant 
period.  These  budgets  are  developed  based  on  eighteen-month  projections  of 
contributions  and  earned  incomes:  but  those  contributions  and  incomes  do  not 
exist  in  a  static  or  stable  environment.  Funding  for  the  arts  is  largely  a 
'catch  as  catch  can'  proposition,  and  the  grantees  are  caught  in  several  binds. 
One  needs  the  Endowment  funding  to  get  other  contributions,  yet  one  needs  those 
to  get  the  Endowment  funding.  One  has  to  request  Endowment  funding  eighteen 
months  in  advance,  but  most  of  the  other  contributions  are  from  organizations 
with  different  funding  cycles,  so  other  contributions  are  probably  hypothetical 


VI1I-2 


projections.  The  Endowment  is  likely  to  award  less  than  the  amount  requested: 
the  grantees  are  also  likely  to  receive  less  than  their  early  projections  of 
other  contributions.  So  the  whole  project  may  be  drastically  reduced  in  scope 
from  the  application  to  the  actual  implementation.  While  this  provides  a 
rationale  for  the  vagueness  of  the  project  descriptions  in  the  application,  it 
is  also  astonishing  that  as  much  as  is  accomplished  could  be  in  this  framework 
of  suppositions. 

C.      POPULATION  CHARACTERISTICS   AND  DISTRIBUTIONS 

1 .  Overview 

The  two  principal  comparisons  made  with  the  evaluation  data  are  the  differ- 
ences/similarities between  the  individual  objectives  of  the  Services  to  the 
Arts  Category  and  the  population  of  the  grantees  as  a  whole,  and  those  between 
repeat  and  one-time  grantees. 

There  was  extensive  variation  among  all  of  the  grantees,  as  well  as  intra- 
objective.  The  Services  to  tne  Arts  Category  is  extremely  diverse:  the 
analyses  of  these  different  activities  are  of  some  interest,  in  terms  both  of 
the  types  of  activities  and  questions  of  project  management. 

Summaries  of  the  principal  findings  and  of  the  grantees  as  a  whole  are  pre- 
sented in  the  following  paragraphs.  These  are  grouped  initially  by  the  gran- 
tees as  a  whole,  and  are  then  broken  out  into  individual    objectives. 

2.  Projects  as  a  Function  of  the  Grantee  Organization 

Basically,  projects  represented  either  yery  small  percentages  of  the  organiza- 
tion, or  else  fairly  substantial  percentages.  Almost  all  of  the  organizations 
had  other  activities  which  accounted  for  more  than  half  of  their  operating 
budgets.  There  was  a  slight  tendency  for  older  organizations  to  have  higher 
budgets,  and  for  projects  studied  to  represent  diminishing  allocations  over 
the  course  of  time.  In  some  of  the  cases  studied,  however,  the  project  was 
the  first,  or  among  the  first,  activity  attempted  by  the  organization,  as 
demonstrated  by   the   equality  of  years    in  service   and  years    in  existence.     The 


VIII-3 


Endowment  grant  accounts  for  proportionately  larger  shares  of  the  funding  for 
smaller  projects:  there  is  less  variety  in  the  numbers  and  amounts  of  exter- 
nal funding  employed.  Most  of  the  grantees  funded  by  the  Endowment  were  unaer 
fifteen  years  old  and  were  based  in  major  metropolitan  areas,  although  there 
is  a  tendency  for  grantees  in  New  York  City  to  focus  their  efforts  on  projects 
of  national  impact  more  so  than  those  based  in  either  major  metropolitan 
locations  or  other  areas. 

3.       Variances   in  Objectives 

Management  Assistance  (Objective  A)  comprises  technical  assistance,  workshops 
assistance,  and  scholarship  assistance.  While  the  activities  of  these  three 
overlap  to  a  certain  degree,  there  is  a  pronounced  tendency  for  scholarship 
assistance  grantees  to  be  part  of  larger  organizations  than  either  of  the 
other  two.  Technical  assistance  grantees  are  located  primarily  in  New  York 
City  and  have  larger  project  budgets  than  the  other  two,  although  their 
organizational  budgets  also  tended  to  increase  over  time.  Workshop  assistance 
projects  account  for  a  larger  percentage  of  the  organizational  budget, 
although  there  is  a  general  tendency  for  newer  projects,  as  well,  to  cost  more 
than  more  established  ones,  probably  due  to  initial  start-up  costs.  Many  of 
the  projects  demonstrated  strong  linkages  between  reductions  in  Endowment 
funding  and  corresponding  reductions  in  the  project  budget.  There  is  also  a 
pronounced  tendency  for  repeat  grantees  to  be  funded  at  higher  levels  (for  the 
first  year  studied)  than  one-time  grantees. 

Grantees  offering  business  practices  (Objective  B),  on  the  other  hand,  demon- 
strated a  certain  facility  at  increasing  their  own  project  budgets  despite 
reductions  in  Endowment  funding.  There  is  also  a  parallel  tendency  for  tnese 
grantees  to  have  larger  project  budgets  than  those  under  other  objectives. 

Volunteer  development  (Objective  C)  tends  to  be.  a  function  of  larger  organiza- 
tions, with  fairly  stable  project  budgets.  Most  of  these  grantees  focus  on 
the  recruitment  of  specialists  from  private  industry,  either  through  direct 
contact  or  through  advertising.  One  of  the  particularly  interesting  activi- 
ties was  the  training  provided  to  volunteers  in  terms  of  relating  their  abil - 
ities  and  involvement  to  an  arts  environment. 


VIII-4 


Financial  support  (Objective  D)  projects  were  funded  at  the  lowest  range  of 
project  budgets,  but  represented  either  very  large  organizations  or  else  \/ery 
small  ones.  While  one-time  grantees  accounted  for  a  higher  percentage  of  the 
organizational  budgets,  probably  due  to  the  newness  of  those  efforts,  there 
were  not  other  significant  differences  between  repeat  and  one-time  grantees 
for  financial  support  activities.  Contributions  from  public  and  private 
sources  accounted  for  their  principal  fund-raising  endeavors,  rather  than 
earned  income  sources. 

Information  Dissemination  (Objective  E)  projects  tended  to  do  just  that,  al- 
though clearinghouses  also  collected  information.  Clearinghouses  also  tended 
to  be  operations  of  smaller  organizations,  although  most  of  these  projects 
were  in  the  least  costly  budget  range.  Newer  organizations  have  higher  pro- 
ject percentages  than  older  ones,  and  one-time  grantees  have  a  corresponding 
higher  percentage  of  Endowment  funding  than  repeat  ones,  although  the  actual 
dol lar  amount  is  less. 

D.      INFORMATION  UTILITY 

The  particular  questions  this  section  addresses  are  what  types  of  information 
have  been  collected,  what  these  can  tell  us,  and  what  the  Inter-Arts  Program 
may  be  able  to  do  with   this   information. 

Essentially,  the  types  of  information  collected  are  a  distillation,  through  a 
management  filter,  of  the  data  collected  by  the  Inter-Arts  Program.  Because 
the  information  was  collected  and  analyzed  by  people  outside  of  the  Endowment, 
there  is  an  unbiased  appraisal  of  the  operation  of  the  projects,  irrespective 
of  the  Program  judgment  about  their  qual  ity. 

Most  of  the  grantees,  based  solely  on  management  concerns  and  by  the  types  of 
information  provided,  probably  would  not  be  funded  by  anyone  unfamiliar  with 
the  field.  This  is  offset,  to  a  certain  degree,  by  Panel  ist  knowledge  and  the 
provision  of  site  visit  reports.  The  types  of  information  requested  are,  more 
often  tnan  not,  presented  in  a  form  which  can  best  be  described  as  nebulous. 
There  are  few  internal  checks  and  balances,  and  fewer  attempts  at  monitoring 
the    ongoing    project.      This    is    related    to    two    factors,    the    first   being    the 


VIII-5 


tentative  nature  of  the  proposed  project,  and  the  second  being  the  necessity 
for  the  required  forms  to  be  sufficiently  broad  to  encompass  as  many  of  the 
differing  activities   as   possible   (which  renders   the   forms   generic   to  a   fault). 

The  information  collected  is  a  greatly  condensed  overview  of  some  of  the  basic 
activities  funded  by  the  Inter-Arts  Program  over  the  past  four  years.  While 
much  of  it  is  unstable  for  the  purposes  of  advanced  statistical  analysis,  it 
provides  a  useful  descriptive  matrix  of  some  of  the  more  general  traits  of  the 
Category  as   a  whole  and  of  tne  five  objectives  analyzed  in   particular. 

There  are  two  principal  uses  to  which  the  Inter-Arts  Program  could  put  this 
information.  The  first  is  the  ongoing  maintenance/updating  of  the  data  base 
to  serve  as  a  means  of  monitoring  grantee  performance.  Category  Specialists 
could  check  oack  through  the  funding  histories  more  readily  and  also  prepare 
complete  briefing  profiles  for  Panelists'  review.  The  second  is  its  use  as  a 
tool  for  further  research,  addressing  such  questions  as  how  the  scope  of 
activities  changes  over  time  for  repeat  grantees,  or  the  relative  likelihood 
of  certain  volunteer  activities  to  'take  off  in  a  particular  city,  or  to 
drive  the  investigation  of  Endowment   funaing  impact. 

E.      RECOMMENDATIONS 

The  recommendations  for  the  Inter-Arts  Program  are  diviaed  into  two  types: 
those  relating  to  the  information  collection  processes  and  those  directed  at 
the  management  level  . 

The  data  collection  procedures  used  by  the  Endowment  for  the  application  are 
adequate,  and  can  be  fairly  detailed,  depending  on  the  grantee.  The  data 
collection  procedures  after  the  grant  has  been  awarded  need  to  be  improved  and 
the  information  requests  could  be  refined  to  specify  precisely  what,  and  in 
what  detail  ,  needs  to  be  addressed. 

1 .     Data  Collection 

o  Alter    the    purpose    statements    in    the    application    to    specify    the 
scope  of  the  project  alone. 


VI 1 1-6 


o  Either  add  a  section  to  the  application  for  a  description  of  the 
organization's  purpose  or  else  require  the  submission  of  the 
organization's   informational   brochure. 

o  Standardize  definitions  of  terms  and   fiscal   years. 

o  Include  more  specific  questions  on  the  monitoring  procedures  to  be 
used  in  the  application.  (For  example,  How  are  the  evaluations  to 
be  carried  out?  Who  is  responsible?  What  will  be  done  with  those 
eval  uations?) 

o  Change  the  time  of  submission  of  the  Supplementary  Information 
Sheet  from  with  the  application,  to  just  after  the  grant  award  is 
made.  This  will  permit  the  grantees  to  make  more  realistic  assess- 
ments of  project  scope  based  on  their  available  funding. 

o  Have  the  grantees  resubmit  an  application  form  at  the  ending  of 
the  grant  period.  This  provides  the  Endowment  with  a  directly 
comparable  measure  of  project  accomplishment. 

o  Strengthen  the  requirements  of  the  FDR  to  include  specific  project 
accompl  isnments,  not  merely  a  superficial  retelling  of  what  was 
done,  but  rather  how  it  was  accomplished  and  concrete  examples  of 
who  benefited  from  those  services. 

o  Request  that  copies  of  Annual  Reports  and  Audits  be  submitted  with 
the  FDR. 

o  Specific  questions  could  be  used  as  part  of  the  review  criteria, 
which  would  provide  the  grantees  with  more  structured  direction 
for  completing  the  application  forms,  and  at  the  same  time,  pro- 
vide the  Panel   with  equivalent  measures. 

2.     Project  Management 

The  actions    taken   by   the  Program   to   monitor    the  grantees'   performance   reveal 
some  interesting  facts,  which  could  be  altered  to   the  benefit  of  the  Endowment. 

VIII-7 


o  The  data  are  not  comparable  throughout  the  project  cycle.  Infor- 
mation received  on  the  application  is  not  addressed  again,  for 
example,  nor  are  the  same  requirements  made  for  post-grant  infor- 
mation as   for  pre-grant. 

o  There  is  no  institutional  mechanism  to  maintain  any  project  infor- 
mation in  a  readily  accessible  manner.  Either  it  is  contained  in 
file  cabinets  or  boxes,  or  it  is  solely  in  the  head  of  the  respon- 
sible specialist.  While  there  is  some  overlap  in  those  two 
sources,  it  is  scarcely  complete. 

o  Site  visits  are  used  intermittently  and  primarily  to  determine  if 
funding  should  be  awarded  again. 

Specific  alterations  to  the  comparability  of  the  data  could  be  addressed 
through  judicial   additions  to  and  deletions  of  existing  instruments. 

The  institutionalization  of  project  information  poses  a  particular  problem,  as 
it  seems  evident  that  much  of  that  data  is  not  in  a  written  form.  It  is  in- 
stead based  on  personal  contact  and  the  steady  accumulation  over  years  of 
knowledge  about  the  principals  working  for  the  organization  and  the  concomitant 
increase  in  information  about  that  organization  from  others  in  the  field. 
While  the  automation  of  information  will  be  of  assistance  in  monitoring  project 
performance  and  easier  access  to  project  data  of  past  and  ongoing  efforts,  the 
inclusion  of  that  qualitative  information  might  be  incorporated  through  a 
series  of  annotations  throughout  the  project  file.  The  initial  outlay  of  time 
and  effort  would,  however,  be  quite  extensive,  but  the  updating  would  not  be 
as  laoor-intensive  and  would  provide  for  greater  access  to  information  about 
the  Inter-Arts  Program  as  a  whole,  as  well    as   grantee  activities. 

The  use  of  site-visits  is  an  excellent  evaluation  tool,  which  has  been  greatly 
reduced  in  effectiveness  due  to  its  expense.  Many  of  the  site  visits  were 
conducted  as  part  of  a  series  performed  by  one  individual  in  a  fairly  short 
timeframe.  While  the  specialist  often  provided  an  indication  as  to  the  types 
of  questions  which  needed  to  be  addressed  —  thereby  focusing  the  meetings 
between    the  visitor   and    the    grantee  staff   --  more    definition    is   needed  as   to 


VIII-8 


the  purpose  for  the  site  visits.  If  they  are  to  be  used  as  an  evaluative 
tool,  they  should  be  more  rigorous.  If  they  are  to  be  used  in  a  somewhat  more 
qualitative  manner  as  an  indicator  of  the  grantee's  performance  and  compe- 
tence, then   that  should  also  be  made  more  explicit. 

In  general,  the  project  monitoring  responsibilities  need  to  be  at  the  same 
time  clearer  and  more  thorough. 

F.      EVALUATION  PROCESS 

This  initial  evaluation  effort  has  been  a  lengthy  and  relatively  expensive 
process,  being  both  cost-  and  labor-intensive.  Future  evaluation  efforts  need 
not  be,  now  that  the  background  information  has  been  collected  and  a  database 
established.  What  Inter-Arts  will  need  to  do  is  to  maintain  and  update  these 
existing  files,  which  present  them  with  an  accurate  historical  accounting  of 
the  individual  grantees.  The  Program  staff,  at  this  point,  can  conduct  the 
evaluations  themselves  with  respect  to  those  variables  already  established  in 
the  computer  files,  and  can  certainly  add  much  more  qualitative  information 
about  the  actual  functioning  of  these  grant  programs.  The  evaluation  will 
shift  from  a  strictly  external  one,  with  an  outsider's  perspective,  to  a  less 
external  one,  with  an  insider's  perspective.  While  the  Endowment  is  still  not 
part  of  the  grantee  organization  itself  (which  would  make  the  evaluation  an 
internal  one),  it  certainly  has  more  overlap  with  the  realities  of  those 
grantee  organizations.  In  this  way,  the  Program  staff  will  be  able  to  build 
upon  this  effort. 


VIII-9 


APPENDIX  A 
GLOSSARY  OF   TERMS   AND   ABBREVIATIONS 


GLOSSARY  OF  TERMS  AND  ABBREVIATIONS 


The  following  definitions  are  provided  to  enable  the  non-statistical  reader  to 
understand  the  primary  research  terms  used  in  this  report,  as  well  as  provid- 
ing the  statistical  reader  with  the  operational  definitions  used  for  this  re- 
port. The  definitions  are  presented  in  alphabetical  order,  and  are  followed 
by  explanations  of  the  principal   abbreviations  used. 

Definitions 

Average.  The  average  is  a  mathematical  term  which  describes  an  estimate  of 
central  tendency.  It  is  determined  by  summing  the  values  of  all  of  the  group 
and  dividing  that  sum  by  the  number  of  values.  It  is  useful  in  determining 
the  most  likely  value  of  a  certain  group  of  variables.  An  example  would  be 
the  average  cost  of  an  artist's  paintings:  she  sold  five,  at  prices  of  $250, 
$175,  3300,  3238  and  3327.  The  total  of  these  prices  is  $1290,  divided  by 
five,  the  number  of  paintings,  for  an  average  price  of  $258. 

Correlation.  A  correlation  describes  and  defines  the  relationship  Detween  two 
groups.  There  are  two  principal  types  of  relationships:  direct  and  inverse. 
A  direct  correlation  is  one  where  the  movement  of  each  group  is  in  the  same 
direction,  ie.,  as  one  increases,  so  does  the  other  group.  An  inverse 
correlation  is  one  where  the  movement  is  in  opposing  directions,  i.e.,  as  one 
group  increases,  the  other  decreases. 

Cross-tabulation.  A  cross-tabulation  (or  cross  tab)  is  the  graphic  represen- 
tation of  a  correlation  between  two  groups.  Each  group  is  presented  along  one 
of  the  axes  of  the  graph,  and  the  respective  combinations  of  the  two  groups 
are  usually  broken  out  in  a   grid. 

Descriptive  Statistics.  This  is  the  general  name  by  which  the  most  basic  sta- 
tistics are  known,  as  they  serve  principally  to  describe  the  particular  attri- 
butes of  groups.  The  most  common  descriptive  statistics  in  this  report  are 
the  mean,   percentage,  and  range. 


A-l 


Frequency.  Frequency  refers  to  the  number  of  times  a  particular  thing  or 
event  occurs. 

Frequency  Distribution.  Frequency  distribution  refers  to  the  pattern  formed 
by  the  numbers  of  different  things  or  events.  It  is  formed  by  a  series  of 
frequencies,  usually  arranged  by  some  type  of  scale.  Almost  all  of  the  exhib- 
its in  the  report  use  this  statistic.  Another  name  for  this  is  a  distribution 
pattern. 

Mean.     This   is   the  formal    statistical    term  for  average. 

Missing.  Often  when  an  analysis  is  conducted,  some  values  will  not  be  pre- 
sent. The  statistical  term  for  such  absences  is  missing.  Normally,  partic- 
ular statistics,  such  as  frequencies  and  percentages  are  based  on  the  avail- 
able number  of  cases.  For  example,  if  there  are  a  total  of  twenty-five  art 
galleries  operated  by  a  grantee,  but  only  nineteen  have  reported  the  numbers 
served,  then  averages  and  other  statistics  are  calculated  based  on  those  nine- 
teen cases. 

Mode.  Mode  refers  to  the  most  common  frequency.  It  may  also  correspond  with 
the  mean,  but  does  not  have  to.  For  example,  there  are  twenty-five  galleries. 
Of  these,  nine  exhibit  modern  paintings,  six  exhibit  works  of  new  artists  in 
mixed  media,  five  exhibit  watercolors,  and  the  remainder  an  assortment  of  folk 
art  and  lithographs.  The  mode  is  nine,  referring  to  those  galleries  that 
exhibi  t  modern   paintings. 

Out!  ier.  In  most  distributions,  the  various  frequencies  will  fall  fairly 
closely  around  the  mean.  In  some  cases,  however,  the  frequency  may  occur  at 
some  distance  from  both  the  mean  and  the  bulk  of  the  other  frequencies,  often 
occurring  well  away  from  those  other  frequencies.  These  cases  are  referred  to 
as  outliers.  Such  an  occurrence  usually  happens  to  a  ^ery  small  number  of 
cases,  but  oecause  of  their  distance  from  the  rest  of  the  values,  these  can 
distort  the  mean.  For  example,  if  that  painter  who  sold  five  paintings  at  an 
average  of  $258  instead  sold  one  of  hers  at  $1500  (the  outlier)  rather  than 
$300,  her  average  price  per  painting  would  become  $498. 


A-2 


Percent.  Frequency  refers  to  the  actual  number  of  time  some  value  occurs. 
The  percent  makes  it  meaningful  in  the  context  of  the  rest  of  the  values  for 
that  variable.  Percent  (or  percentage)  is  determined  by  taking  some  value, 
multiplying  that  by  100,  and  then  dividing  by   the   total  number  of  values. 

Range.  This  refers  to  the  distance  between  the  greatest  and  the  least  values 
for  some  variable.  The  original  range  of  prices  for  that  artist's  paintings 
is  from  $175-3327.  This  may  also  be  represented  by  the  difference  between  the 
highest  and  lowest  values,  so  that  the  range  for  these  paintings   is   $152. 

Value.  This  refers  to  the  actual  number  or  amount  for  a  particular  case. 
Each  objective  studied  has  several  analytical  parts,  which  are  called 
variables.  The  numeric  responses  by  each  grantee  for  those  variables  are  the 
values. 

Variable.  This  is  simply  the  statistical  term  for  the  group  of  values  for  one 
particular  trait. 

Abbreviations 

There  are  four  commonly  used  abbreviations  presented  on  the  Exhibits.  These 
are: 

LT  =  1  ess  than 

GT  =  greater  than 

Pet.  =  percent 

K  =  thousands  of  dollars. 


A- 3 


APPENDIX  B 
GEOGRAPHIC  LOCATION  OF  GRANTEE  ORGANIZATIONS 


GEOGRAPHIC  LOCATION  OF   GRANTEE  ORGANIZATIONS 


The  "Geographic  Location  of  Grantee  Organizations"  classification  category  has 
been  divided  into  three  subcategories: 

o  New  York  City  Metropol  itan  Area 
o  Major  Metropolitan  Centers 
o  All    Other  Locations. 

These  subcategories   are  defined  below. 

New  York  City  Metropolitan  Area 

For  purposes  of  this  evaluation,  the  New  York  City  Metropolitan  area  is  de- 
fined as  the  five-borough  area,  Long  Island,  Westchester  County  and  the  suburbs 
of  Connecticut  and  New  Jersey.  Over  the  past  four  grant  cycles,  59  grants  have 
been  awarded  to  organizations  with  New  York  City  metropolitan   area  addresses. 

Major  Metropolitan  Centers 

Major  Metropolitan  Centers  include  cities  (including  their  suburbs)  with  popu- 
lations of  350,000  or  greater  according  to  the  1980  Decennial  Census  of  the 
U.S.  Over  the  past  four  grant  cycles,  64  grants  have  been  awarded  to  cities 
which   fall    into  this  subcategory.     A  listing  of  those  cities   follows: 

o  Atlanta,  GA 

o  Boston/Cambridge,  MA 

o  Buffalo,   NY 

o  Denver,   CO 

o  Houston,   TX 

o  Kansas  City,  M0/KS 

o  Los  Angel  es  ,  CA 

o  Minneapolis/St.   Paul,  MN 

o  Milwaukee,  WI 

o  Philadelphia,   PA 


B-l 


o  Phoenix,   AZ 
o  San  Diego,  CA 
o   San  Francisco,   CA 
o  Seattle,  WA 
o  Washington,  DC 

All    Other  Locations 

Grantee  organizations  based  in  cities  with  populations  under  350,000  or  organ- 
izations located  in  rural  areas  fall  into  this  category.  Fourteen  grants 
which  fall  into  this  category  have  been  awarded  since  1980.  These  locations 
include: 

o  Anchorage,  AK 
o  Concord,   NH 
o  Curmiington,  MA 
o  Madison,  WI 
o  Norran,   OK 
o  Raleigh,  NC 
o  Santa  Fe,   IW 
o  Springfield,    IL 
o  Sweetbriar,  WV 
o  Teaneck,   NJ 


B-2 


APPENDIX  C 
DATA  BASES  FOR   THE  SERVICES  TO   THE  ARTS   CATEGORY 


DATA  BASES  FOR  THE  SERVICES  TO  THE  ARTS  CATEGORY 

TABLE  OF  CONTENTS 

Page 

1.  Data  Base  for  Objective  Al :     Technical    Assistance       C-l 

2.  Data  Base  for  Objective  A2:     Workshop  Assistance   C-ll 

3.  Data  Base  for  Objective  A3:     Scholarship  Assistance  C-21 

4.  Data  Base  for  Objective  B:     Business  Development  C-30 

5.  Data  Base  for  Objective  C:     Volunteer  Development  C-39 

6.  Data  Base  for  Objective  D:     Financial   Development  C-47 

7.  Data  Base  for  Objective  El:     Clearinghouses   C-55 

8.  Data  Base  for  Objective  E2:     Publications   C-64 

9.  Data  Base  for  Objective  E3:     Other  Information  Dissemination 

Activities   C-73 


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