Funding the Arts: An Investment in Global Citizenship?

The world of classical music, says the writer, has always been international, and has now become truly global. Opera is perhaps traditionally, and most conspicuously, global. At any performance of the Metropolitan Opera of New York, for example, one encounters several different nationalities on stage, back stage, and in the orchestra pit. But the same is true of the plastic, dramatic, and literary arts nowadays, very different from the days when Henry James, Robert Frost, T. S. Eliot, Ernest Hemingway and Gertrude Stein, fled to Europe to find the stimulation and recognition they could not find at home. Meantime, Americans are exposed to a vast array of artistic productions from many countries and cultures: from Asia, India, the Caribbean, Eastern Europe, and Australia. Even as American artists have found their place on the world stage, so also have artists from around the world found theirs. In the aggregate they form a kind of global citizenry of the arts as reflected in the currency of their works, international conferences, critical recognition, and access to them in print, films, exhibitions, recordings, and live performances. This serves as background for a reconsideration of the controversy over government funding for the arts in the United States as the author introduces the concept of global citizenship into the debate over government support for the arts. (Contains 11 notes.)