Over at the Courant, Colin McEnroe waxes poetically about 1934, the year, and Hartford, the city.
Buckminster Fuller’s teardrop-shaped, three-wheeled Dymaxion car pulled up on Hartford’s Main Street and out climbed actress and socialite Dorothy Hale, the writer Clare Boothe — both in shimmering dresses — and the sculptor Isamu Noguchi. At an after-party over on Scarborough Street, composer Nicolas Nabokov pounded out Russian folk songs on a piano while writer Archibald MacLeish sang, and there was some kind of scuffle involving composer Virgil Thomson, sculptor Alexander Calder and art dealer Julien Levy. Hartford’s own Wallace Stevens looked at all the “people who walked around with cigarette holders a foot long, and so on” and pronounced them “asses of the first water.” Walking among them was a very nervous young man named John Houseman, making his first stab at the world of theater.
It was Feb. 7, 1934.
The man who made it all happen — and I’m just scratching the surface here — was A. Everett “Chick” Austin, the director of theWadsworth Atheneum, who had arranged for Thomson andGertrude Stein’s opera “Four Saints in Three Acts” to make its world premiere in the atheneum’s theater. It coincided with Austin’s opening of America’s first-ever full retrospective of the work of Pablo Picasso and the opening of the museum’s new Avery wing.
Austin was some kind of indomitable maniac, not the least bit troubled by two huge obstacles to this huge night.
This was the Great Depression.
This was Hartford.
Hartford was a tough sell even then. The year before, Austin had somehow persuaded a fellow named George Balanchine, who was preparing to leave Russia and the Ballets Russes, that Hartford was the perfect place to relocate, to live, to work, to start his School of American Ballet. Balanchine actually showed up in Hartford, intending to do just that!
When he got there, the city was … smaller than he had imagined somehow. And, hilariously, the local Hartford dance schools were up in arms about the idea that some Bolshevik was going to drain their business. (Especially short-sighted were the Angelo sisters, Mary and Carmel, who ran a ballet studio in the city and also sold ballet slippers, which would have been a good business to be in, a few blocks from Balanchine.)
Anyway, the great dance master left, but he came back later and premiered new works at the atheneum in December 1934. This time, George Gershwin and Salvador Dali made the Hartford trip.
The last bit about the Angelo sisters and the local dance schools strikes that still present familiar chord doesn’t it? The timing of McEnroe’s article might have something to do with this the mood up in Hartford when it comes to Arts funding, encapsulated in another Courant article.
To balance the state budget, Gov. M. Jodi Rell has proposed eliminating about $30 million in state arts and tourism grants to local government and arts institutions over the next two fiscal years. Rell has also proposed collapsing the state Commission on Culture and Tourism into the Department of Economic and Community Development. The extent of the cuts will not be clear until final budget proposals are worked out with legislative leaders this summer.
Support for the Arts has become increasingly a public service type of thing. Finding funding from the same sources that venture capital people hunt through is an economic competition that pits clown fish versus shark in chum filled waters. Not a pretty site.
In Hartford, the Hartford Stage, the Wadsworth Atheneum Museum of Art and the Hartford Symphony Orchestra have all announced cutbacks that include leaving job vacancies open, remaining closed an extra day a week and cutting the salaries of top executives.
Arts groups are particularly concerned about Rell’s proposal to fold the state’s Commission on Culture and Tourism into the Department of Economic and Community Development. In the past, the bulk of federal grants for the arts were funneled through the independent commission, and it’s unclear whether another state agency will qualify to receive federal grants.
Federal arts grants are also predominantly matching programs, meaning the federal government matches dollars spent by the state. But with Rell proposing a sweeping cut in state art grants, Connecticut would no longer qualify for the federal portion of the grants.
Local arts groups say almost $12 million in proposed cuts to statewide and local tourism marketing will also deeply affect the arts.
“It’s important to realize that tourism cuts are almost as bad as direct cuts to arts groups because without those funds, I can’t support groups like the Farmington Valley Visitors Association,” said Martin Rotblatt, the executive director of the Farmington Valley Arts Center in Avon. “They are one of our best ways of letting everyone know about arts events.”
source: Artists Brace For State Budget Cuts: Reduction In Funding Hurts Many Ways, by RINKER BUCK, July 4, 2009