Cultural Democracy: The Arts, Community, and the Public Purpose

Notes

Notes Introduction 1. The Cambodian cultural initiative described here was part of a series of encounters with ethnic communities that ultimately took shape as the House Island Project, produced by Portland Performing Arts (now the Center for Cultural Exchange), with funding provided by the Wallace–Reader’s Digest Foundation and the National Endowment for the Arts. 2. Huntington, Clash of Civilizations, 21. 3. See United Nations Economic, Social, and Cultural Organization (UNESCO), Culture, Trade, and Globalization, PricewaterhouseCoopers, “Global Entertainment and Media,” and Financial Times, World Desk Reference. 4. Harris, “From the Collectors Perspective,” 155. 5. Madeja, “Arts as Commodity.” 6. Cheap Imitation was a piece John Cage composed for the Merce Cunningham Dance Company. It exactly replicates the rhythmic pattern of an Erik Satie composition but replaces all the pitches with those obtained by chance operation . 7. Lomax, “Appeal for Cultural Equity,” 125. 8. Pérez de Cuéllar, Our Creative Diversity, 176. 9. Friedman, Lexus and the Olive Tree, 31. 10. Godfrey, “Optimizing America’s Cultural Policies.” 11. Brand, Clock of the Long Now, 2. 12. For my introduction to Rachel DuBois and her conception of cultural democracy , I am indebted to Maryo Gard Ewell of the Colorado Arts Council. DuBois’s statements throughout are quoted in Ewell, “Arts and Community Strengthening.” 13. Langsted, Double Strategies, 3. 14. Report of the 1976 Oslo Conference quoted in Langsted, ibid., 4. 15. Pérez de Cuéllar, Our Creative Diversity, 26. 16. Ibid., 25. 17. UNESCO, Universal Declaration. 18. Quotations excerpted from UNESCO, Universal Declaration, Article 1, Article 4, and Article 7. 19. Cleveland, “Bridges, Translations, and Change,” 85. 20. Reagon, “Battle Stancing,” 70. 21. Brand, Clock of the Long Now, 38. The idea of art and culture as different levels in the grand scheme of civilization is drawn from Brand’s writing. 22. Tylor, quoted in Stocking, Victorian Anthropology, 300. 23. Kroeber and Kluckholm, Culture, quoted in “Concept and Components of Culture,” 874. 24. Appadurai, Modernity at Large, 12. 25. Graves, “Introduction,” 5. 26. Barber, Aristocracy of Everyone, 5. 27. Oliver Wendell Holmes, as recounted in Menand, Metaphysical Club, 431. 28. Ivey, “American Cultural Bill of Rights,” 3. 29. Adams and Goldbard, Creative Community, 55. 30. Robert Winslow Gordon and the chiefs, as recounted to the author by folksinger and song collector Michael Cooney. 31. “Those roles which, being neither those of Hero not Heroine, Confidante nor Villain, but which were nonetheless essential to bring about the Recognition or the dénouement, were called the Fifth Business in drama and opera companies organized according to the old style.”—Tho. Overskou, from the epigraph to Davies, Fifth Business. 32. Losito, “Culture and Development,” 2. 33. Childs, Transcommunality, 7. 34. Pérez de Cuéllar, Our Creative Diversity, 25. Chapter 1: Communion 1. The Gary Hines/Thuli Dumakude initiative was part of the House Island Project, produced by Portland Performing Arts, with funding provided by the Wallace–Reader’s Digest Funds and the National Endowment for the Arts. 2. Graves, “Introduction,” 5. 3. Wright, Non Zero, 5. 4. Putnam, Bowling Alone, 22. See Bowling Alone for a more extensive discussion of social capital in its myriad manifestations. 5. Fox, Five Books of Moses, 884. 6. In the speech announcing his Fourteen Points, on January 8, 1918, Woodrow Wilson put forth his conception of self-determination of peoples: “What we demand in this war, therefore, is nothing peculiar to ourselves. It is that the world be made fit and safe to live in; and particularly that it be made safe for every peace-loving nation which, like our own, wishes to live its own life, determine its own institutions, be assured of justice and fair dealing by the other peoples of the world as against force and selfish aggression. All the peoples of the world are in effect partners in this interest, and for our own part we see very clearly that unless justice be done to others it will not be done to us.” The full text is 222 / Notes to Pages 13–27 available at the Web site of the Harold B. Levy Library at Brigham Young University ; it is available at many other sites as well. 7. Abrahams, “Phantoms of Romantic Nationalism,” 5. 8. Sowell, Ethnic America, 3. 9. Juan Tejeda, Chicano music director of the Guadeloupe Cultural Arts Center , San Antonio, Texas, in conversation with the author, 1991. 10. Jabbour, “Ethnicity and Identity,” 7. 11. Lawrence Levine...