NEW YORK โ Poet Marie Howe, a recent recipient of the prestigious Pulitzer Prize, believes that being a writer is more of a vocation than a conventional career path. Writers often depend on teaching roles and other forms of support, like grants from foundations or government agencies such as the National Endowment for the Arts (NEA), to sustain their craft.
Howe, who won the Pulitzer for โNew and Selected Poemsโ and has previously been an NEA creative writing fellow, highlighted the profound impact of receiving an NEA grant. โEveryone applies for an NEA grant year after year, and if you receive it, itโs extraordinary,โ she expressed. โItโs not just about funding; itโs about receiving encouragement. I was deeply appreciative. It significantly boosted my confidence and urged me to continue pursuing my work.โ
The journey of many successful artists, notable productions, cherished cultural institutions, and comprehensive research projects often begins with discreet government support. The NEA or the National Endowment for the Humanities (NEH) provide crucial funds that allow writers to finish books, community theaters to perform plays, scholars to delve into archives, and museums to curate exhibits.
For decades, a robust artistic and cultural infrastructure, supported by bipartisan interests, has flourished across the nation. However, the current administration is making sweeping changes, marking a stark departure from previous practices.
Since his return in January, the administration has claimed that organizations such as NEA, NEH, PBS, and the Kennedy Center are promoting a โwoke agendaโ that challenges traditional norms. As a result, significant cuts to programs have been made, with a shift in funding priorities. For instance, the NEH and NEA, in the midst of firing employees and retracting grants, have pledged millions towards establishing a โNational Garden of American Heroes.โ
The NEH has declared, โAll future awards will prioritize merit and will fund projects that refrain from promoting extreme ideologies related to race or gender, instead fostering an understanding of Americaโs foundational values.โ
Currently, numerous individuals and institutions across diverse art forms are grappling with financial shortfalls. Organizations such as Electric Literature and McSweeneyโs have been informed that their grants are no longer available. Philadelphiaโs Rosenbach Museum & Library had to suspend its online cataloging initiative after losing a grant worth nearly $250,000. Similarly, the Stuttering Association for the Young now faces a $35,000 funding gap, impacting its summer music camp.
โOur fundraising is essential to provide the camp at a reduced cost,โ explained Russell Krumnow, the associationโs director. โThe withdrawal of funds complicates our ability to uphold that promise.โ
Talia Corren, co-executive director of the Alliance of Resident Theatres in New York, criticized the lack of consistency in government funds, stating, โGovernment money must be predictable. Our decisions hinge on that financial support.โ
Institutions like the NEA and NEH have been cornerstones of cultural development since their inception during President Lyndon Johnsonโs โGreat Societyโ initiatives over 60 years ago. Despite occasional controversies, such as the support of artist Robert Mapplethorpe in the 1980s, these organizations have persisted due partly to their broad economic impact.
Advocates argue that federal grants from the NEA and NEH provide more than just initial funding. Such support fosters a โrippleโ effect, creating desirability among private donors and stimulating local economic growth. A single grant can facilitate jobs, boost local businesses, and indirectly support community spending.
Jane Alexander, renowned actor and former head of the NEA, shared insights from her early career when the NEA funded a production at Arena Stage. Her husband had advised against fearing that supporting other theaters would undermine their own, emphasizing that โa rising tide floats all boats.โ
In response to recent cutbacks, organizations are urgently seeking public and philanthropist support to bridge financial gaps. The Mellon Foundation has introduced an โemergencyโ fund for humanities councils. At Portland Playhouse in Oregon, donors stepped in when the theater lost a $25,000 NEA grant on the eve of a play opening.
Nonetheless, reliance on private fundraising is not viewed as a sustainable solution. Donors, over time, may experience fatigue or shift priorities, as illustrated when the Rockefeller Foundation reallocated its support away from a theater project. Alexander reflected on the pride and excitement felt when a repertory company was established with Rockefeller assistance, only for the initiative to falter when priorities shifted.