Goodwill Arts Festival Report

Goodwill Arts Festival Report

Anne Focke

Transcribed using Google Drive Tools

1990-1991

PDF Document

English

Goodwill Arts Festival
··
··
··
Goodwill Arts Festival
1990
A Summary Report

Goodwill Arts Festival
Seattle Organizing Committee of the Goodwill Games
Father William Sullivan, Chairman of the Board
Goodwill Arts Committee Paul Schell, Co-Chair and SOC Board member
Jane Williams, Co-Chair and SOC Board member Linda Farris, Committee member and SOC Board member

soc Staff and Principal Arts Contractors
Bob Walsh, SoC President Kathy Scanlan, SOC Executive Vice President Jarlath Hume, Vice President for Community Relations
Anne Focke, Arts Advisor C. David Hughbanks, Managing Director, Moscow: Treasures & Traditions
Goodwill Arts Festival Producer, One Reel
Norm Langill, Executive Producer Jane Zalutsky, Associate Producer Marschel Paul, Project Coordinator

Report by Anne Focke
May 1991

Report Contents
Preface 5
Goodwill Arts Festival
Introduction 7
Artistic Content 8
An Arts Festival with an Athletic Event 13
The Festival: An Extension of the Arts Community 15
Cooperation was a Hallmark 16
Management 18
Planning Phases Organizational Structure Seattle Organizing Committee Goodwill Arts Committee One Reel Festival Co-producers Treasures Management
© 1991 by A. Anne Focke 811 First Avenue #403 Seattle, WA 98104
Financial Support 25
Early Money Production, Promotion and Operations Money

Published by Jarlath Hume soc Vice President for Community Relations 270 South Hanford St., Suite 208, Seattle, WA 98134
Marketing and Promotion 29
Audiences 31
Printed through the generosity of The Boeing Company
Closing Thoughts 33
Printed in the United States of America
Appendices
Complete Listing of the Festival Program 37
People Behind the Festival 42
Preface
Most of the work on this report was done in the fall of 1990 during the first few months following the Goodwill Arts Festival. Final editing was finished in May 1991. The purpose of the report is to provide a written record of the festival -- how it came about and why it happened the way it did. In many respects it was written simply because I found
it hard to have worked on the Festival as long as I and so many others . did without making sure that something of its story was written down.
There are a few things the report is not. It is not comprehensive; although I talked with lots of people as I developed the draft, the report continues to reflect the perspective of one person and I take responsibility for that. It does not provide a full financial report (something many people told me they'd like to see) ; such a report will have to come from people more directly involved with the financial records than I. It it not intended to build a case either for or against future festivals, here or anywhere else; I leave that to others.
The sources of the information are several. Shortly after the festival, I formally interviewed about fifteen people who had been involved in sponsoring, producing, coordinating and giving leadership to the festival and its events. I also relied on information generated by the festival producer, One Reel: comments made at a lively and well-attended "Co-Producers' Wrap-up Discussion;" responses to an evaluation form distributed to co-producers who participated in the NEA Challenge grant; results of an audience survey conducted during the festival; and information contained in several internal analyses such as a summary of advertising and media sponsorship. Important to tying together all these sources was my own direct experience with the project. As Arts Advisor to the Goodwill Games, I had the chance to be involved from start to finish, from the summer of 1986 through the fall of 1990. I was not always at the center of the action, especially when the festival actually happened in the summer of 1990, though perhaps being out of the fray gave me the benefit of distance.
My thanks go to the people who spent time talking with me and especially to those who spent time reviewing and correcting the draft -- Jarlath Hume, Paul Schell, Jane Williams, Norm Langill, Jane Zalutsky and Dave Hughbanks. I am extremely grateful to The Boeing Company and Fred L. Kelley, Corporate Manager for Advertising and Promotion, for printing this final version. Special thanks go to Jarlath for seeing that the report was published and distributed even though the Goodwill Games office shut down a few months ago, and for getting me involved in the Goodwill Games in the first place.


GOODWILL ARTS FESTIVAL

Introduction

The Goodwill Arts Festival took place in Seattle and Tacoma in the summer of 1990 in conjunction with the 1990 Goodwill Games. The start and finish of the festival coincided with the opening and closing of Moscow: Treasures and Traditions, a visual arts exhibition that ran from June 1 to September 30. The performing arts portion of the festival held to a tighter schedule, beginning with the opening of the Bolshoi Ballet on July 2 and ending on August 5, the last day of the athletic events in the Goodwill Games. The scale of the Arts Festival was extraordinary: attendance at Festival events topped 500,000 and the aggregate budget for all events was approximately $15 million. Many events were sold-out. Press and media coverage, both locally and nationally, was extensive and laudatory.

Over 35 organizations and individuals from the Seattle/Tacoma area produced and presented projects for the Goodwill Arts Festival. There were over 200 performances of theater, music, dance, circus, opera and performance art; plus visual arts exhibitions, public art projects, two film festivals, a July 4th celebration, a book of essays and a gathering of native American tribes. The festival focussed on the arts and artists of the Soviet Union and the United States, but also included art and artists from Japan, Canada, East Germany, Korea, Mexico and many other countries. It also celebrated the richness and diversity of the arts in the Seattle/Tacoma region.

Artistic Content
French-Canadian Cirque du Soleil presented the first US showing of its new show, Nouvelle Experience, under a brand-new blue and yellow striped Big Top. Seattle's Alice B. Theatre produced the United States' first National Gay and Lesbian Theatre Festival with eight companies from the US and Canada.
"At its core, an event like this must start with an idea, one that evokes a strong, visceral artistic response." -- Richard Andrews

The strength of the artistic response stimulated by the Goodwill Arts Festival, was partially due to the specific circumstances of time and place, local and world events from which the festival emerged. Helping to establish the dynamics of the festival were certain givens: this festival would be held in the Seattle/Tacoma area in conjunction with a major sports competition; it would be a "one-time" special event; it would be international but would have a specifically Soviet (or more specifically, Russian) focus; and, even more than most international events, it would emphasize good will and international exchange.
New City Theater and the ensemble Theater Zero commissioned a new work, "Pilgrims of the Night," from writer/director Len Jenkin. In an evaluation of the impact of the festival, a representative of New City commented that Jenkin "had become discouraged and artistically frustrated with the conservatism of the American Theater. His voice was in danger of being silenced. The commissioning and production experience has revitalized him and created a new work for the American Theater."
"Specific passions were unleashed by the way the festival approached the artistic community," said Richard Andrews, Director of the Henry Art
Gallery. "The nature of this relationship was an intangible key to the festival's success." The programming ideas that emerged were ones that people were anxious to realize; in some cases they were already in the works and invariably they weren't simply derived from the need to come up with something for a festival.
Through Goodwill Arts Festival events, many art objects and productions were brought to the United States for the first time. Visual arts exhibitions including Moscow: Treasures and Traditions and Art into Life: Russian Constructivism 1914-1932 presented many objects never before allowed out of the Soviet Union. The Sovremennik (contemporary) Theatre of Moscow was seen for the first time in the United States. The Arab Film Festival was the first major retrospective of Arab film presented in the US and the Forum of Young Cinema presented première showings of twenty films from the US, USSR and eastern Europe.

The arts festival allowed artists and groups to push their own limits and to cross new thresholds of quality, not only because of the financial support that many of them received but also because of the permission they were given to follow their own vision. The stretching of limits was apparent to others not involved in the actual production of the events. Paul Schell, Co-Chair of the Goodwill Arts Committee, observed, "The artists and the arts groups took risks. The festival changed people -- it wasn't just entertainment."

In addition to stimulating the creation and presentation of new works, the festival celebrated both historical and living traditions. The Bolshoi Ballet Company, which opened its 1990 US tour at the Goodwill Arts Festival with Ivan the Terrible, was founded in 1780 and continues today under the artistic direction of Yuri Grigorovich. The Grand Kabuki Theatre of Japan, performing within a tradition that began in the early 1600s, presented two full-cast Kabuki works. The Washington State Historical Society Museum presented Russian America: The Forgotten Frontier, an historical exhibition that told of the period (1747-1867) when Alaska was Russian territory. Traditional music and dance from Mexico, Bulgaria, Italy and Uzbekistan were presented by the Northwest Folklife Festival. Native American culture was celebrated through the Daybreak Star Indian Goodwill Village which housed traditional dwellings from more than twenty-five tribes across the United States.

Many new works were created especially for the occasion and the festival generated many artistic firsts. Paul Taub, Seattle flutist, commissioned new works for solo flute from composer Sergei Slonimsky of Leningrad and from his uncle, composer Nicolas Slonimsky of Los Angeles. Through the curatorial leadership of David Ross, the Tacoma Art Museum's exhibition, Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism, stimulated the creation of new works for the exhibition by many of the artists included in the show. New essays by writers from both the Soviet Union and the United States were commissioned jointly by the University of Washington Press and a Soviet press, Fitzkultura i Sport. Individual artists from the Seattle area created new works especially for the festival: choreographer Pat Graney produced a new work for 100 gymnasts and drill team performers; artists Lisa Farnham, Sally Cloninger and Beliz Brother created a new sculpture/video installation; and a group of twenty visual artists produced collaborative works for the sides of public buses.

The size and scope of festival productions varied tremendously. On a grand scale, the Seattle Opera produced a monumental version of Sergei Prokofiev's opera of Tolstoy's masterpiece, War and Peace. In the most complete presentation ever offered by a US company, General Director Speight Jenkins created an international ensemble of performers -- with a conductor from the Bolshoi Opera, soloists from the Kirov Opera and US singers performing principal roles in a cast of 200. On a more modest scale, the Empty Space Theatre commissioned translations of three new Soviet plays. "It was unusual to have such a 'process-oriented' project included," observed a representative of the Empty Space. "It was a sign of enlightened perspective to back not only the major exchanges, but this kind of developmental and investigative event."
Seattle Group Theatre introduced The Independence of Eddie Rose, a new play by Native American playwright William S. Yellow Robe, Jr. The
The festival in its final form was exceptionally diverse. It embodied "the artistic opinions of the arts producers in our community," wrote Norm Langill, President of One Reel and Executive Producer of the Goodwill Arts Festival in the festival program book. "The program is a summation of these individual creative expressions," he wrote, "a 1990 reflection of what this area is all about artistically."
The festival encouraged artistic collaboration among artists and organizations and between nations. Soviet and US actors performed together in the Soviet folk tale, The Falcon, at A Contemporary Theatre and in a Soviet-US produced television special filmed in the Soviet Union. Curators and museum administrators from the US worked closely with the Ministry of Culture in the Soviet Union and Soviet museums to produce major exhibitions. The International Computer Music Festival, produced by Soundwork Northwest, brought together pairs of composerperformers from the US and other countries (Japan, Canada, Korea, India and the United Kingdom) for collaborative concerts. Earshot Jazz created a sixteen-piece International Creative Music Orchestra with players from the US, Eastern Europe, the Soviet Union, and Canada.

Festival planners made an early commitment to creating an event that expressed the great breadth and diversity of the arts in the Seattle/Tacoma area. Not only did the Goodwill Arts Festival include a mix of large and small events as well as both contemporary and historical projects, it was committed to a wide range of artistic disciplines. The emphasis given to the visual arts was unusual within the context of international arts festivals, which typically have a strong performing arts orientation. Especially remarkable was the encouragement of curatorial exploration and the development of important new exhibitions.
Reflecting on the festival in retrospect, Peter Davis, General Manager of the Intiman Theatre, commented that the eclectic nature of this festival grew in part from the fact that it represented many artistic visions in this community and was not the singular vision of 'one man' like so many other festivals. "It resulted in both higher and lower points," he added. "Actually, I would have liked even more diversity -- higher highs, lower lows, an even more eclectic and richer mix, more organizations." One of the few criticisms of the contents of the festival was the observation that the ethnic diversity, in terms of artists, participating organizations and audience, was not as varied as it could have been, especially given the wide range and rich variety of ethnic groups and cultural traditions in this region. The European focus of the festival may have been the result, in part, of an emphasis early in the project by Soviet cultural leaders on their own Russian European heritage.
Indeed, one of the arts festival's defining characteristics was its Russian focus. This was greatly accentuated by the remarkable changes taking place in the Soviet Union during the time of the festival's planning and production. "The fact that the festival focussed on the Soviet Union when it did played a huge role in the festival's success," stated Jane Williams, Co-Chair of the Goodwill Arts Festival. "Throughout the Goodwill summer, a mystique was being tested and explored, in intellectual, artistic, athletic and personal arenas. Ordinary citizens wanted to pierce that mystique. The festival captured their imagination."

Fulfilling a serious commitment to both performing and visual arts was not always easy. Performances and exhibitions have different producing and presenting dynamics. Performing events happen in time, at specified hours and can be held to a tightly-defined and high-energy schedule; visual arts exhibitions happen in space, at hours more of the visitor's own choosing ana require longer duration. There are differences in scheduling and marketing needs as well as in principal revenue sources. Visual arts exhibitions are often accompanied by substantial publications or "catalogs" that have no counterparts in the performing arts. Although afterward, Paul Schell and others felt the festival "didn't integrate the visual and the performing arts as well as it might have," the Goodwill Arts Festival made significant innovations in bringing the two together. One such innovation was the "Passport to the Arts," a combination ticket to the festival's four Soviet arts exhibitions that was highlighted in the festival ticket brochure, and sold as part of all the performing arts ticket packages.
Among people who were deeply involved in projects with the Soviets, there are many stories of a new and personal understanding of both similarities and, perhaps more powerfully, differences between our culture and theirs. Aspects of Russian character -- their "defense of the motherland" and their "resignation to fate" -- became more than stereotypes. For one participant, the experience allowed "a progression through the Russian psyche." Seattle and US curators and artistic directors who visited the Soviet Union to plan festival events, gained incredible insights into both the official and daily life of that country.
The Goodwill Arts Festival stretched conventional festival definitions even further by including the publication of a book of literary essays commissioned specifically for the 1990 Games. The book had its roots in the festival's early planning and in an understanding of the central place that literature occupies in Russian and Soviet culture, and it was successfully published through a joint venture between a US and a Soviet press. The publication of a substantive literary book was an innovative step for an arts festival to take. This publishing project, however, was so unusual within a festival context that it fell through the cracks of the festival's overall promotion and was not integrated into the broad understanding of the festival as a whole.
Through its emphasis on the Soviet Union, the festival encouraged a kind of "cross-fertilization" because of an often serendipitous relationship between events -- the relationship, for example, between the opera War and Peace and the artworks in Moscow: Treasures and Traditions. This interaction was most powerful when experienced in personal terms, as when during a special midnight viewing of Treasures, Bolshoi dancers saw objects from their own heritage for the first time, or when 96-year old composer Nicholas Slonimsky viewed artworks by old acquaintances and contemporaries in Art into Life.
An Arts Festival with an Athletic Event

Although planned independently, four of the visual arts exhibitions (Treasures, Russian America, Art into Life and Between Spring and Summer), were remarkably cohesive when considered together, and presented a broad perspective on Russian art: two shows gave an historical perspective and two framed the communist era, one early and one late. "They almost seemed like chapters in a book," noted Tacoma Art Museum Director Wendell ott.
The Seattle Goodwill Games Organizing Committee (SOC) made a very early commitment to including the arts in the overall program for the 1990 Goodwill Games. Through the efforts of a core group (including Bob Walsh, Father William Sullivan, Jarlath Hume and Doug Jewett), Seattle was designated as the host city for the 1990 Goodwill Games in May 1986, before the staging of the first Goodwill Games in Moscow. Paul Schell, who was among the first to join the board of the SOC, stated, "Jarlath deserves credit for the vision of including the arts in the Games' program." Hume's commitment, fueled in part by the recent success of the Olympic Arts Festival in Los Angeles, was quickly shared by all members of the original organizing committee. An article in the Seattle PI in June 1986 announced that the 1990 Goodwill Games would be the cornerstone of an international cultural exchange. "A cultural exchange will enhance Seattle's image as an international city," predicted Hume . Father Sullivan added that the cultural exchange would probably be a summer-long event that would include an arts festival and an educational exchange program. Before heading to the Games in Moscow in July, Hume retained Anne Focke as Goodwill Arts Advisor, and planning for the arts festival began.

From its inception, the Goodwill Arts Festival was not an arts event that stood alone. Instead, it was intertwined with a major civic event that was based and developed outside the arts community. Many aspects of the arts festival -- its development, management, production, even some of its impact -- were fundamentally affected by this relationship.

People involved in both the arts and the sports assessed the value of this relationship in retrospect. "The inclusion of the arts in the Goodwill Games was very important and made the Games more than just a televised sports event," noted SOC Chair Father Sullivan, and he added, "The Goodwill Summer was a three-legged stool: sports, arts and exchanges*." Kathy Scanlan, SOC Executive Vice President, agreed: "The arts and the exchanges gave the Games a distinguishing character. The arts festival was very integral and important to our efforts." Jarlath Hume went a little further, "The arts festival, along with the exchanges, broadened what the Games meant to people. The people-topeople events are what made it all worthwhile."

In assessing the relationship between the arts festival and the athletic event, some stressed the contributions the arts festival made to the Games, while others emphasized the importance of the Games to the arts. clearly, benefits flowed in both directions. "Without the arts the
* The Goodwill Exchange Program included homestays in Washington State for 1,400 Soviet citizens, the Pepsi Friendship Center at the Seattle Center, a series of fifteen Goodwill conferences and sixteen projects co-sponsored by citizen groups.

The Festival: An Extension of the Arts Community
Games wouldn't have been perceived to be as important as it was for local people," observed Arts Committee Co-Chair Schell. He added, "the strong positive feelings generated by the arts festival tempered the negative press that had begun building around the Games in the late spring [1990]." Schell's Co-Chair Jane Williams remarked, "There was a flip. At first the SOC saw the arts festival as a potential risk or detriment and then saw it as very organized and ahead of the Games, especially in community support."
A central planning principal of the Goodwill Arts Festival stipulated that the SOC would not become an arts producer but instead would rely on the strong community of arts producers already residing in the Seattle/ Tacoma area. This was very different from the SOC's relationship to its athletic events where the Goodwill Games, of necessity, served as the primary event producer. The policy was also in sharp contrast to the example set by the Olympic Arts Festival in Los Angeles, which in many ways had provided an impetus for the inclusion of arts in the Goodwill Games. The Olympic Arts Festival, like other major international festivals, had a very strong artistic director and (according to OAF staff) problematic relationships with co-producing organizations.
Another view came from Peter Davis. Speaking from his perspective as an arts producer, he said, "We flew on the coat tails of the sports events. The arts program needed the coat tails of the Games, but only the coat tails, since the relative independence of the arts festival was also very important." He emphasized that the arts needed the Games' visibility and its contacts in the Soviet Union. He felt the connection helped the arts community overcome an inherent inertia. Jarlath Hume stressed the importance of the Games in making connections with the Soviet Union (such as access to the Bolshoi and contacts with Soviet museums) especially in 1987 and 1988 before that country opened up as much as it has today. "When we got those commitments," he noted, "no one else was talking with the Soviets."
The relationship between the Games and the arts festival can be seen as an experiment. Cooperative relationships between arts activities and activities outside the arts community are uncommon, especially on this scale. In addition to resulting in a sometimes confusing management structure (discussed later), the relationship occasionally triggered tension between key participants. These tensions were often based on differences in expectations of what the relationship should mean, especially in financial terms.
The Goodwill Arts Committee's policy of working with "co-producers" was not reflected in the earliest concept papers for the arts program (1986), but was the result of a planning process that involved early communication with artists and representatives of arts organizations. In the early fall of 1986, Arts Advisor Anne Focke began meeting with people from the arts community. Significantly, the "community" was defined to include not only Seattle, but Tacoma as well. By early 1987 she had met with representatives of all the largest arts organizations, many of the smaller ones and a number of individual artists. The first of several "updates to the arts community," distributed in March 1987, began to reflect what she heard. Among other things, this interactive process eventually led to a festival where the artistic direction was set by many. It was broad-based rather than centralized. Some called it "bottom-up planning" artistically, planning by, not for, individual groups and artists in this region. "A critical aspect of this festival was the concept of multi-artistic directors," stated Norm Langill and Jane Zalutsky of One Reel. "The community owned the Goodwill Arts Festival," they said. The sense of ownership by artists and arts groups was fostered through control of their own artistic decisions. In turn, this network of co-producers contributed to the broad-based feeling of community support for the Goodwill Arts Festival.
Kathy Scanlan referred to one of the roots of the problem when she stated, "There was a genuine commitment to the arts festival; the question was how to pay for it." Despite genuine enthusiasm for the arts program, Soc decision-makers did not include the arts in their own basic budget, except for some early planning costs. The SOC's financial relationship with the arts was largely defined by a policy that required independent, designated funds to be found for the arts program. This was a sore point for the arts festival producer, One Reel, who believed that the SOC should have financially guaranteed the festival. Although there was cooperation between the SOC and One Reel in seeking corporate sponsors for the festival, One Reel reported that it was clear the arts festival was the soc's last priority, which made the task of raising dollars for the festival more difficult. At the same time, the SOC was under great pressure to meet the many needs and large scope of its entire program. "At times," said Jarlath Hume, "the staff responsible for securing sports sponsorships felt the arts festival was given far too much authorization to seek funds."
One of the requirements of any project with many heads is continual communication and the development of trust among the participants. Communication once begun had to be maintained. In the spring of 1988, Peter Davis, then a member of the Goodwill Arts Committee, and Langill
made the rounds of arts groups again, meeting with them to answer questions, gather ideas, and keep the relationship alive. In early 1989, Arts Committee Co-Chairs Schell and Williams scheduled meetings with the boards of many Seattle/Tacoma arts organizations to engage them in the discussion and to further strengthen the connection between the festival and the arts community. Once the production of the festival began to move into high gear, continual personal contact was essential. Marschel Paul was the principal contact at One Reel for all festival producers from early 1989 through the close of the festival in 1990. Her ready availability and patient assistance was a key to keeping communication lines open and building trust among the many participants.
Perhaps a lesson in this experience is that enthusiasm for the arts is not easily converted into a line item in the basic budget of a non-arts enterprise that has its own purposes and financial constraints.
Cooperation was a Hallmark

together," suggested Peter Donnelly, Executive Director of the Corporate Council for the Arts and a member of the Goodwill Arts Committee. Tacoma Art Museum Director, Wendell ott agreed: "Perhaps this is the beginning of a new understanding of this whole region as a community." Ott also cited exceptional cooperation within Tacoma as well, between the museum and the city government on many aspects of planning such as security and permits. "The more we worked together," he commented, "the more respectful of each other we became."

A distinguishing characteristic of the Goodwill Arts Festival was the level of cooperation it engendered among arts groups in the area. Although the Seattle area arts community has a long history of internal cooperation, rifts and tensions were clearly visible at the time planning for the festival began. The backdrop of tension was evident in comments afterward that made special note of the lack of conflict. "This project was remarkable in how little local controversy it generated among arts groups," reflected Jane Williams. Although the causes of tension certainly still existed and occasionally could be seen by those working closely with the co-producers, the overriding feeling was one of tremendous cooperation.

A high point came with a meeting organized by One Reel in September 1989 that pulled together the marketing and PR directors of all the festival co-producers -- from the Seattle Opera's ad agency to independent artist producers. Between 60 and 70 people from 25 festival projects jammed into the SOC Board room, heard about plans for marketing the arts festival and shared program information, mailing lists and enthusiasm for the entire event. Many present reported that the meeting was electric and amazing in the breadth of its representation of the arts community.
An additional benefit to the arts community came through the variety of connections that artists and arts groups here made or reinforced with their counterparts elsewhere in the country and world. The Tacoma Art Museum collaborated with the Institute of Contemporary Art in Boston. The Washington State Historical Society Museum jointly produced its exhibition with the Anchorage Museum of History and Art. The Henry Art Gallery had the cooperation of the Walker Art Center of Minneapolis in the development of Art into Life. Intiman Theatre's artistic director and entire organization had the opportunity to work closely with many Soviet artists as they co-presented with One Reel the Sovremennik Theatre of Moscow in Seattle. Nine One One Contemporary Arts Center worked directly with artists from Vancouver B.C., San Diego and New York City. And there were many other examples.

Examples of cooperation and collaboration among local arts organizations were found throughout the festival. The Santa Fe Chamber Music Festival and the Seattle Chamber Music Festival, long-time rivals, collaborated for the first time in their histories on the presentation of the Shostakovich Quartet. Although the beginning was rocky, the Boards of both organizations were extremely pleased with the result and are currently planning another joint project. The Seattle Girl's Choir and the Northwest Girl Choir, also long-time rivals, undertook a similar collaboration with the Schedrick Children's Choir from Kiev. Participating museums collaborated on marketing strategies. Producing organizations included visiting artists from other projects in their hospitality and special events and shared many other resources and contacts.
A spirit of collaboration reached many people outside the specific boundaries of the arts community as well. Many arts festival projects reported increased participation from the larger community, in terms of financial support, inkind donations and volunteer time. One of C. David Hughbanks' greatest joys as Project Director of MOSCOW: Treasures and Traditions was the cooperation and interrelationship of all the entities responsible for the production of the exhibition; the exhibition wouldn't have been possible without the "multitude of civic contributions" it received.

The spirit of cooperation extended beyond city limits. The participation of arts organizations in Tacoma was important to people in both communities. "The arts may be the way our communities can come

Management
Planning Phases
The broad definition of the festival changed shape significantly at least three times and went through corresponding planning phases. (In reality, these phases were not as distinct as they might seem in retrospect.) The first could be called the "big dreams" phase. Anne Focke drafted an informal plan in the summer of 1986 that she used as a concept paper and starting point for her talks with people in the arts community that fall. The plan stated a few "givens" and presented a general outline for a Goodwill Games arts program. The plan and the meetings that followed reflected an inclusive vision for the festival including performing, visual, literary and media arts. In addition to establishing that this festival would be developed in communication with the arts community, these meetings were intended to test the basic idea and to stimulate program ideas from artistic directors and others in the various arts organizations. The basic approach of reaching out to the arts community for their ideas continued to be the first message given to any arts group that the festival worked with in the succeeding three years.
In addition to the importance of bringing artistic dreams into balance with practical reality, other planning principles, important to the festival's success, were identified in discussion afterward. Maintaining artistic and financial flexibility was essential, according to Paul Schell. "We remained responsive to current circumstances, took advantage of unexpected opportunities, and redirected our energies around obstacles that emerged. We were unafraid to dream, but also unafraid to let some of our dreams go if necessary." Often mentioned as a key to the festival's success is a maxim from Langill: "under-promise, over-deliver." Keeping expectations low and maintaining a low-key approach to the press in the early phases of festival planning allowed surprise to be a factor when the festival went fully public in early 1990. Fostering this sense of surprise was an important objective for Langill and Zalutsky as they strove, in their words, "to make the moment work, to make it magical."
Organizational Structure
The organizational structure of the Arts Festival reflected its status as a special event. Many of the working relationships were the result of the need to build the machine while it was moving, so to speak. From an overview, the festival's organizational chart was not a tidy one drawn in advance and then implemented. In many respects, the complexity (even messiness) of the organizational structure emerged from the context of the festival's specific time and place, and from the specific interests, resources and personalities of the people involved. It isn't an organizational chart to emulate in any other way than in its responsiveness to its immediate circumstances -- a fact that seems consistent with the one-time-only, special-event nature of the Games and the Festival.
"It was important that we were first able to be as creative as we could be," stated Jane Williams, "but it was equally important that we were brought to reality by One Reel through a business plan that built from what was actually possible." The second phase of festival planning began with the Goodwill Arts Committee's recommendation in the fall of 1987 that the SOC hire One Reel to develop a plan for a performing arts festival. The Plan for a Goodwill Games Performing Arts Festival that was adopted in May 1988 established a number of guiding principles. For one thing, it introduced the concept of "core" projects -- "what I call 'cultural heavyweights'," explained Norm Langill. "In fact there were about seven big projects that made up this core." These were projects that could stand on their own with minimal support from the Games. A phased approach assumed that other projects would be added as they proved their feasibility or as the festival's own resources grew. One Reel is repeatedly credited with bringing a hard-line, business-like approach to the festival planning. Both Langill and Associate Producer Jane Zalutsky stressed that, "from the full range of enormous potential, you must focus on the center and work out from there. We began with the things we knew could happen even without resources."
The key organizations in the operational structure were the Seattle Goodwill Games Organizing Committee (SOC), the Goodwill Arts Committee (GAC), One Reel, and the many arts organizations and groups of artists who were the festival's co-producers. Because of its size and impact on other festival events, the management group that was put together to produce Moscow: Treasures and Traditions fell in a category by itself. Although the relationships appear fairly clear as described here in retrospect, participants commented that the relationships and relative responsibilities often seemed quite confusing at the time.
Seattle Organizing Committee
A third, "expansion," phase began in late 1988 as support from the National Endowment for the Arts was explored. The possibility of having specific funds to direct to artistic programming stimulated the expansion of the festival's definition beyond the core. The Goodwill Arts Committee and One Reel refined their selection procedures and, with the NEA award of $750,000 in November 1989, the festival grew to almost its final size.
The first Goodwill Games were staged in Moscow in 1986 through the cooperation of the Soviet Committee of Physical Culture and Sport, the Soviet Ministry of Television and Radio, the Turner Broadcasting System and US Sports Federations. Due to Olympics boycotts, these Games represented the first time in ten years that athletes from the USSR and the United States met in multi-sport international competition. An agreement between the Soviets and Ted Turner assured the continuation of
*
the Goodwill Games in 1990, and at the close of the 1986 Games, Seattle was announced as the host city for the 1990 event.
development of a Goodwill symbol and on the selection of a graphic designer for the Games. A performing arts subcommittee worked with One Reel in the development of the initial performing arts festival plan. A visual arts subcommittee, Co-chaired by Linda Farris and Tracy Savage, oversaw the development of a visual arts program that extended beyond the largest exhibitions. These two committees were brought together as the overall festival definition was enlarged in late 1988.
The core group responsible for bringing the Goodwill Games to Seattle (Walsh, Sullivan, Hume and Jewett) established a non-profit civic organization, the Seattle Goodwill Games Organizing Committee (SOC). The SOC was fully responsible for staging the Games in Seattle, and TBS retained (and purchased from the SOC) primary broadcasting rights. Through the leadership of Bob Walsh, the SOC developed and maintained remarkable access to the Soviets both before and during the thaw in US/Soviet relations of the late 1980s. The extraordinary Soviet support for the Seattle Goodwill Games, established by Walsh, created special opportunities for the arts program that developed in conjunction with them.
As far as the Goodwill Arts Festival provided overall artistic direction to the events it encompassed, such direction came through the activities of the GAC's subcommittees. Some of the festival's "core" projects emerged in the very early stages and resulted from interaction between local arts producers and Goodwill Games personnel, both sports and arts. Core projects tended to be "cultural heavyweights," to use Langill's phrase, in part because these projects required exceptionally long lead times but more importantly because they would be more likely to survive financially whether or not the Games found additional money to support them.
"
Within the SOC, responsibility for the arts program was within the jurisdiction of Jarlath Hume, SOC Vice President for Community Relations. Hume was responsible for directing early planning activities, for raising certain funds to support the arts program (such as support from the United States Information Agency and sponsorship from the Boeing Company for Moscow: Treasures and Traditions) and for overseeing the SOC's agreements with its principal arts contractors, including the Arts Advisor (Anne Focke), the Festival Producer (One Reel), and the Director of Treasures (C. David Hughbanks). Hume was also responsible for establishing the initial agreements with the Soviet Minister of Culture concerning the participation of organizations under its jurisdiction, such as the Bolshoi Ballet and the Soviet museums.
When the festival was being expanded at the time the NEA grant application was developed, a more specific selection process was instituted. The performing and visual arts programming committee, working with One Reel, sought and responded to proposals from professional arts organizations, and it established three proposal deadlines. "We wanted the best," said Langill and Zalutsky, "even if we had to go through the process three times." They also emphasized the importance of the interactive nature of the process. The arts groups and One Reel had the opportunity to talk and explore possibilities throughout the selection process, and Langill commented, "It gave us the ability to work with the co-producers before and after the decision to help them plan something that would work." In the end, Jane Williams observed, "the decision-making came across as fair. We came through it all without rumblings of discontent and alienation."
Goodwill Arts Committee
One Reel
The Goodwill Arts Committee (GAC) was appointed by the SOC in the fall of 1987, building on earlier informal activity of several SOC Board members interested in the arts program. A strong relationship was established between the Arts Committee and the SOC Board of Directors through three members' participation on both -- Linda Farris, Paul Schell and Jane Williams. Schell and Williams served as Co-Chairs of the Arts Committee and provided Board-level leadership to key staff and contractual personnel through their active participation in an arts Executive Committee. Shared responsibility for leadership of the GAC worked well according to Schell, who commented, "it helped dispel the tendency to see the festival as one person's show. Cooperation was instilled in part because people were working for an idea or an ideal, not for a 'cult' person's reputation." Co-chairs Schell and Williams were active and involved leaders throughout the project.
One Reel, a professional festival and event producer, joined into discussions with Goodwill staff in the fall of 1986. Hired initially to prepare a plan for a performing arts festival, One Reel subsequently was hired by the SOC as arts festival producer to promote and market the festival, to sell tickets, and to coordinate the activities of all the festival co-producers. In addition, One Reel applied for, received and managed a $750,000 Challenge III Grant from the National Endowment for the Arts. It was also directly involved in the production of several festival events including the Bolshoi Ballet, the Grand Kabuki Theatre and Le Cirque du Soleil and in the co-production of the Sovremennik Theatre. SOC commitment to working with local co-producers was expressed, in part, through contracting with One Reel rather than seeking an international festival producer from elsewhere. Jane Williams spoke for the soc on behalf of One Reel when she noted, "We're lucky to have a festival manager of national stature here in Seattle."
The role of the Goodwill Arts Committee was especially strong in the early phases, with its recommendations, for example, that the soc hire One Reel to prepare a plan for a performing arts festival and then later that the SOC adopt the performing arts plan. Although some felt the GAC could have played a stronger role overall, it had a subcommittee structure that worked well, including ad hoc committees on the
"Among One Reel's contributions," commented SOC Executive Vice President Kathy Scanlan, "were pulling the arts community together, keeping the festival on budget, and designing a ticket program and ticket packages that really worked." "I was impressed from top to bottom," Peter Donnelly added. "It takes a long time to develop that kind of expertise."
introductions to key Soviet officials, these producers were fully responsible for producing and financing their own projects. Others, especially smaller groups, came in later in the process and relied heavily on coordination and assistance from One Reel and on the money from the NEA.

In its relationship with the co-producers who received NEA funds, One Reel did not function simply as an intermediary "grantor" nor was it a fully hands-on "producer" -- it worked in between these roles. One Reel provided festival producers a loose programming umbrella, coherent marketing, communication with other producers and, in many instances, invaluable advice and assistance. After the festival, Langill and Zalutsky commented on how much personal attention and contact was needed. Especially through the efforts of Project Coordinator Marschel Paul, One Reel responded individually to the needs of co-producers, especially the smaller ones without large organizational resources. Among the many participants who praised her work, the chamber music festivals, in a post-festival evaluation, gave special thanks, "to Marschel, for never tearing her hair out when we asked the same questions over and over."
The Goodwill Arts Festival demonstrated the extremely high level of professionalism of the arts community here. Marschel Paul, who was in constant contact with the co-producers during the year before the festival, observed that the arts groups were all extremely competent. "Logistics with the Soviets were incredibly complex," she explained. "Most projects presented many new problems, and the co-producers solved them all. There were no major disasters." Jarlath Hume was also impressed and made special note of "their willingness to get involved in the first place, to undertake the financial responsibility required, to work with each other, and even to bow out gracefully when necessary.
Treasures Management
Although some producers felt communication with One Reel could have been better and others found its role confusing at first, festival coproducers overwhelmingly lauded One Reel's role. Post-event evaluations included comments such as "One Reel was fabulous, especially for its patience;" "working with One Reel was a phenomenal experience and gave our effort both a major boost and much to aspire to;" and "One Reel's services were always complementary and supportive of our artistic activity."
A significant exception to the co-producer arrangement was Moscow: Treasures and Traditions. As with the largest performing arts productions, an exhibition of this scale required tremendous lead time. The project was initiated during the first round of conversations that Anne Focke had with members of the arts community in 1986. Acting Director of the Seattle Art Museum (SAM), Bonnie Pitman-Gelles, expressed enthusiasm for the idea of an international arts festival, but determined that the Museum could not participate by itself organizing a major exhibition since it was well in the thrall of building a new downtown facility. With Pitman-Gelles' advice and assistance, the SOC then contacted the Smithsonian Institution Traveling Exhibition Service (SITES), which had just organized the first major collaborative US/USSR exhibition in years. In 1987 and 1988, research and development of the artistic content of the exhibition continued with the guidance of SITES' principal curator, Donald McClelland. Also during this time, SAM assumed an increasingly active role through the leadership of its new director Jay Gates.
Festival Co-producers
The festival's many co-producers varied greatly -- museums, theater companies, music ensembles, film presenters, a publisher, a tribal foundation, a circus. They ranged from the Seattle Opera Association to individual flutist Paul Taub and from a collaboration among twenty visual artists to a collaboration between the Smithsonian Institution and the Seattle Art Museum with direction from the soc.
"""
As planned, the exhibition was presented first in Seattle during the summer, 1990, and then in Washington DC later in the fall. The SOC Board of Trustees voted to assume financial responsibility both for aspects of the project overall (assembling the show, bringing it to the United States and finding a national sponsor) and for its Seattle presentation (installing the show, operating it and taking monetary responsibility for it here).

Equally varied was the relationship each of these co-producers had to the festival and to the Games. An overriding premise for these relationships was that festival events would be produced by local organizations, not by the Games or by the Arts Festival. In general, each project was supported by help in early planning (in some cases including Soviet travel and connections), by the overall festival promotion and marketing, by a coordinating function provided by One Reel and, for the smaller groups especially, by direct financial support from the NEA through One Reel. Within this there was great variation. Some co-producers, to quote Richard Andrews, felt almost like "independent satellites." After important early support of Soviet travel costs and
In early 1989, The Boeing Company agreed to sponsor the exhibition. The company's involvement ultimately went far beyond the sponsorship dollars as hundreds of employees at every level of the company became active volunteers in the project. Also in 1989, c. David Hughbanks was retained by the soc, first as Project Management Consultant and later as Managing Director. He developed a management and operations staff,

Financial Support
located exhibition space at the Washington State Convention and Trade Center (with the assistance of James Ellis and the Convention Center Board), oversaw the exhibition design and put a marketing plan in place. Through financial contracts with both SITES and SAM, the SOC obtained important professional museum services from both organizations to complement the soc's specially assembled exhibition staff.
In 1989 and 1990, Hughbanks was the "point person" in the cooperative (though sometimes stressful) relationship among the five principal partners (SOC, SITES, SAM, Boeing and the Convention Center) and a host of others. He expressed great pride in their accomplishments: "We actually designed and constructed a completely new museum-quality space in an undeveloped area at the Convention Center and, with the help of 1,200 exhibition volunteers, presented this exhibition of 280 objects to 250,000 people who were unfamiliar with this location as a place for events of this nature. By itself, this exhibition would have been a major civic accomplishment in any city."

In its search for financial support, the Goodwill Arts Committee was committed to not jeopardizing the ongoing support of local arts organizations. The GAC established a firm policy that the Goodwill Arts Festival would not compete directly with local arts groups for financial support. This policy responded to fears expressed in early meetings with arts community representatives and reflected GAC resolve, often stated by Jane Williams, that the arts festival "not cut a swath through our arts community leaving future funding in ruins." Although a special event of the scale of the Goodwill Games and Arts Festival will always stretch existing resources, the Arts Festival was dedicated to "bringing new money to the table." Funds for the festival were sought and obtained from out-of-town (USIA), from corporate marketing departments rather than their contributions divisions (Boeing), and from sources otherwise unavailable to the co-producers (NEA Challenge III).

Early Money
Financial support for the planning and development of a project like this is essential but extremely difficult to find. For Jarlath Hume, who assumed responsibility for finding it, early money was "one of the toughest challenges in the whole project." The first cash to cover expenses specifically related to the arts in the Goodwill Games was advanced by Metrocenter YMCA in 1986, and the earliest grant support came from the Burlington Northern Foundation. With the soc's commitment to include the arts as part of the Goodwill Games, these sources covered planning costs in 1986 and 1987.

The first significant financial support came from the United States Information Agency (USIA) -- $500,000 in each of two years (October 1987 - September 1989). All of the members of Washington State's congressional delegation, especially Don Bonker and Norm Dicks, were extremely helpful in gaining this support. Obtaining and keeping the Goodwill Games' allocation in the USIA appropriation required much advocacy and lobbying work in both years, and it was almost lost during the budget process both times.
An overriding purpose of the USIA grant was to support US/Soviet exchange, not only the exchange that would come during the Games in 1990, but also (and perhaps more importantly from the USIA'S perspective) the actual exchange that took place through planning the arts festival. The soc also proposed that the arts festival would generate significant positive media coverage in the Soviet Union, and, in fact, the series of positive TV specials and newspaper stories in that country ultimately exceeded expectations. USIA funds supported much of the early development of the arts program, especially the costs of Soviet travel for planning arts festival projects. These travel costs, in conjunction with the SOC's remarkable Soviet contacts, provided the foundation for the arts festival's strong Soviet focus.
The funds also supported arts planning contracts (Focke, SITES and One Reel, among others), preliminary planning for the Goodwill Exchanges, and related costs of the Goodwill Games' Community Relations office that was responsible for these activities.
co-producers since it increased revenues by selling tickets, and reduced expenses by covering costs that might otherwise have been included in individual project budgets.
Production, Promotion and Operations Money
An overall picture of the financial support for Goodwill Arts Festival production, promotion and operations is complex, largely because of the relative independence of the festival's many co-producers. Since each co-producer assumed not just artistic control but also control of its production and its finances, most of the festival's production costs did not flow through a central festival budget. One Reel estimates that an aggregate of approximately $7.5 million of Goodwill Arts Festival production costs were contained in co-producers' budgets (not including early money, the budget for Moscow: Treasures and Traditions or costs that flowed through One Reel) for a total aggregate budget (all phases) of approximately $15 million. Clearly, the co-producers were the single most important source of financial support for the festival. They raised most of this money through ticket revenues and through fundraising campaigns, often unprecedented. With very few exceptions, individual project budgets were met, and revenues often exceeded projections.
The largest single allocation of support to an arts festival event came from the Boeing Company in a remarkable $1.5 million sponsorship of MOSCOW: Treasures and Traditions. This sponsorship was given to the SOC as the exhibition producer and supported the collaborative efforts of the soC, the Seattle Art Museum and the Smithsonian Institution Traveling Exhibition Service. The Boeing Company, through the leadership of Harold Carr, Vice President for Public Relations and Advertising, became a real partner in the effort and provided additional, especially in-kind, assistance such as designing and producing education and public service materials and maintaining a substantial paid-advertising schedule. This sponsorship played another key role in the festival by helping to meet the NEA Challenge Grant's matching requirements of three dollars for each dollar of federal support.
The expenses of overall festival promotion, marketing and coordination were borne by One Reel. One Reel raised financial support to cover these costs from a variety of sources. The King County Arts Commission granted $90,000 from unexpected first year hotel/motel tax revenues. A number of corporate sponsors also supported aspects of the overall festival operation including MCI, Lexus (a division of Toyota Motor Company) and Mervyns.
The most important financial source for overall festival operations was an ingenious patrons program created by Jane Zalutsky. One Reel marketed and sold approximately 700 "Premier Patron" ticket packages that included an extraordinary series of opening-night performances and a gala party following the Bolshoi Ballet's first performance. The package price ($800, $1,500 for two) covered the costs of the seats plus a $500 contribution to the festival. In addition to covering operational costs, the funds raised through this program of patron tickets were another important source of matching funds for the NEA grant.
Many co-producers also received support from the National Endowment for the Arts through the $750,000 grant awarded to One Reel for the festival. The grant was applied for in early 1989 through the writing and coordinating efforts of Marschel Paul and was awarded by the NEA'S Challenge III Program in November 1989. The goal of this NEA program was to assist, on a one-time-only basis, projects designed to have a long-term and lasting impact. Support from the NEA assured that the festival would reflect a wide breadth of the arts since it provided direct support for projects beyond the "core" -- that is, projects of organizations that couldn't stand on their own without this kind of extraordinary support. In particular, this support directly affected the smaller organizations, individual artists, and groups with a more experimental focus. Many groups produced arts festival projects that were huge relative to their ongoing budgets, and they needed special funding to go beyond the normal scope. Northwest Folklife Festival staff expressed the feelings of many by saying, "Without special funding it is very difficult, if not impossible, to produce something risky, new and special." The New City Theatre put it this way: "The commissioning of a playwright is a substantial commitment and could not have been done without special funding. The set, lights, and sound were far more ambitious than our normal 'poor theater ethic' would allow." Additionally, some co-producers found that NEA support triggered support from other sources. "The NEA grant boosted morale," reported Tacoma Art Museum's Director Wendell Ott, "and turned our fundraising around."
Major corporate sponsorship for overall festival marketing and operations had been sought but not found. In many respects the failure of the search reflected intense competition for sponsorship and support dollars. Without question, Seattle's 1990 summer of special events stretched both sponsors and sponsor-seekers, both grantmakers and grantseekers. Arts producers, One Reel, the SOC and Turner Broadcasting Service all found themselves bumping into each other and occasionally stepping on each others' toes in their effort to raise the funds they needed both locally and nationally.
Volunteer help and other inkind contributions were also important support of the festival. Contributions to Treasures provide just one example. "Incredible community spirit was reflected in the civic contributions given our exhibition," said Hughbanks, "by our exhibition
Co-producers also received in-kind support through One Reel's promotion and marketing campaign. This campaign had a financial impact on most
Marketing and Promotion
architects, TRA; our contractors, Robert E. Bayley & Co.; our sponsors, The Boeing Company; our 1,200 exhibit operating volunteers; our volunteer legal advisors, Heller Ehrman; the Seattle Art Museum staff, its docents and its Board hospitality committee; our host, the State Convention and Trade Center; the Seattle News Bureau and State Tourism Division; and a whole host of civic business co-promotional efforts."
One Reel's promotion and marketing campaign for the Goodwill Arts Festival was probably the largest single effort of its kind for the arts in this region. The marketing campaign promoted all the events as a whole through television, radio, newspapers, advertising, direct mail, printed "collateral" and public relations efforts. The campaign had three distinct phases: a public relations phase to build awareness beginning in December 1989; a marketing campaign (direct mail, public relations and advertising) to sell ticket packages (first available for sale on February 20); and a public relations and media campaign during the festival to gain visibility for the events and sell final tickets.

The ticket packaging strategy was designed so that a strong demand for certain events like the Bolshoi Ballet would result in ticket sales to other events and would encourage buyers to participate in a "festival," not just one favored event. Packages were created with different focuses, and Dave Hughbanks' innovation, the "Passport" to the four Soviet exhibitions, was included in all performing arts packages.
Together, Goodwill Arts Festival events generated over $6 million in ticket revenues. One Reel reported that performing arts and film festival ticket sales in the aggregate reached 109% of budgeted goals for ticket revenue. "Collective advertising and promotion was a big help," said Richard Andrews, "especially for mid-sized groups." Peter Davis concurred saying, "Intiman Theatre drew great benefit from Goodwill Arts Festival marketing and promotion." Linked promotion and package ticket sales made a big difference to many groups; Earshot Jazz reported, "Strength in numbers brought new attention to less wellestablished non-profits." General enthusiasm for the ticket-package marketing approach was tempered somewhat by the confusion many people felt as they faced the complex ticket brochure.

In managing One Reel's operation as a clearing-houses for the press, Public Relations Director Sheila Hughes worked with each co-producer and served over 500 television and print journalists. The public relations effort was extensive and included radio and television interviews and special tabloids dedicated to arts festival events in regional papers and travel publications. More than 1,500 articles were generated in over 500 publications, including the New York Times, Wall Street Journal, Time, San Francisco Chronicle, Los Angeles Times, and Philadelphia Enquirer, among others. Treasures' staff made two extensive media trips to California in the spring 1990 that resulted in especially strong coverage there.

In all this coverage, critical acclaim for festival events was extraordinary and was highlighted by co-producers in post-festival evaluations. A key benefit for Seattle Group Theatre was critical review by writers from outside the Northwest. The Seattle Opera received a glowing two-page review in the New Yorker. Boxiana got national news media coverage for the first time (in the Wall Street

Audiences
Journal). The Tacoma Art Museum had an "incredible" review in the New York Times. Alice B. Theatre got "unprecedented" coverage. "Treasures coverage was always positive," exclaimed Dave Hughbanks, "and it received very strong nation-wide attention on both art and travel pages." Pat Graney got better and more professional advertising than ever before, and "TV coverage was incredible," she added. Recognition spread beyond formal channels, as Richard Andrews noted: "The word-of -mouth reputation for the Henry Gallery show was tremendous around the world."
In the aggregate, attendance at Goodwill Arts Festival events was over 500,000, and by many reports, the events drew new and broader audiences. The Seattle International Film Festival reported that theirs was "a more varied ethnic audience, with more out-of-town visitors than usual." Seattle Group Theatre increased their Native American, Canadian, and international audiences. Many people came to the Henry Gallery who hadn't been here before. Most audiences were also larger. The Seattle
Girls' Choir reported that they had never sold out before. Alice B. Theatre was thrilled with their attendance, a 50% increase over the previous year.
A few criticisms and cautions regarding the promotion and marketing of the festival emerged in retrospect. Some felt that smaller events got lost in the scale of the overall marketing campaign. The scale of the event was also a concern to Dave Hughbanks who felt that the large number of simultaneous events tended to increase marketing expenses. He added, "It's often easier and cheaper to be the only game in town. We came close to the point of saturation." "By the end of the summer, the theme was tired," he commented. Hughbanks also believes that the visual arts needed a different kind of promotion than the performing arts due in large part to their three to four month duration. While Paul Schell wished that a common graphic had tied visual and performing arts together more, Hughbanks felt the distinction was necessary to call attention to the distinctions between them. "The individual identities of the exhibitions were crucial," he said, "because they were open long beyond the much publicized closing of the arts festival on August 5; in some cases, the exhibitions had as much as two and a half months left during which they had to continue to meet their attendance goals."
Results of an audience survey conducted by One Reel indicated that the GAF attracted existing arts audiences to programs that were new to them: 54% attended events that were produced by an arts organization they had never before patronized. The festival also drew audiences to more arts events than they would normally attend in a given year: 75% attended more arts events in 1990 because of the GAF. The survey also indicated that the festival attracted new audiences to the arts here: 20% were people who did not regularly attend performances and exhibitions in Seattle and Tacoma."
Criticisms like these, however, were in the minority and often were intended more as observations than as serious judgments. The overall assessment was that heightened attention during the Goodwill Arts Festival built a positive image for the arts community locally, nationally, and internationally. In Richard Andrews' assessment, for example, "The attention gained by the Goodwill Arts Festival did much for Seattle's national image." Wrap-up coverage broadly concluded that the Goodwill Arts Festival was a clear success. Georgia Ragsdale of Boxiana added, "There was a strong sense of community and pride in the attention given to Seattle."
There were also some disappointments. Herb Levy of Soundwork noted that "virtually all our advance sales were new, while all the walk-ups were our existing audience." He continued, "The 'wrong' audiences bought out the house," and many, unprepared for what they heard, left part-way through the concert. The film festivals found their audiences lower than projected and felt that film events were scheduled too close together. A representative of ACT felt that the Goodwill Arts Festival needed more low-priced tickets, "it was very much focussed on upper class audiences." Peter Davis wished there had been a larger out-of -town audience -- "That's when we'll really prove our position in the wider arts community."
The Arts Festival, in conjunction with the Games, had a negative impact on audiences for arts activities that took place at the same time but outside the framework of the festival. Empty Space's regular ticket buyers disappeared for three weeks during the festival and picked up immediately after the festival was over. Ticket sales to the Santa Fe Chamber Music Festival dropped significantly during the festival. The impact of the Arts Festival and the Games was felt beyond the non-profit arts community. Galleries and restaurants, especially downtown, noted particularly low patronage during the period of the Games and the Arts Festival. Located at the Convention Center downtown, Moscow: Treasures & Traditions was affected by this phenomenon as well. Dave Hughbanks observed that one effect of local media coverage of the Games, which often emphasized possible traffic problems, was actually to scare away some of the exhibition audience. "Nobody came downtown," he said. "Treasures had a 'destination not a 'drop-in' attendance."Closing Thoughts
In most respects, however, audiences for the Goodwill Arts Festival were unprecedented. Marschel Paul commented, "half to two-thirds of our coproducers experienced new audiences, and in most cases the audiences were thrilled. People who tried opera for the first time with War and Peace, for example, were blown away." Pacific Northwest Ballet attracted many new audience members and its subscriptions for the next season reached the highest level ever. Paul added, "A question to be answered about all these new audiences, however, is will they stay?" Jane Williams agreed. "There will undoubtedly be a ripple-effect on audiences for two or three years."

A favorite pastime after large civic events is to speculate about their impact, on their "lasting legacy." The experience of the Goodwill Arts Festival is no exception, and some of the immediate impressions of and speculations on its significance follow here. In reading what follows, it may be important to keep in mind that these observations were made within the first two months after the festival, in the "heat of the moment," so to speak. The nature (or even existence) of long-lasting "legacies" will be understood only after a much longer time has passed.
In considering personal high points, many people who were part of producing and supporting the festival shared a sentiment expressed by Marschel Paul, "It was the art itself," she said, "hearing it, seeing it, being there for that first week of performing events." The postfestival evaluation by the chamber music festivals reported on their experience: "The Shostakovich Quartet was fabulous; the board members, staffs and every audience member present were overwhelmed with the artistic expertise and vision of the Quartet. We could not have hoped for a more positive experience." Donald Fels wrote of the experience of many artist participants in In-Transition: "Several of the artists broke new ground for themselves, working on such a scale was invigorating. The artists all took their 'mission' most seriously, none let us down." Many co-producers' evaluation forms indicated that artistic expectations were met and often surpassed.

The festival allowed many organizations to "push their own limits," said Richard Andrews, "to cross new thresholds of quality." At the Henry Gallery, Andrews faced a tremendous challenge in managing a very large project with a small staff. The terrific support he received from the Board of Directors and the staff's ability to stretch and accomplish so much, helped the organization grow in a logical way. The Tacoma Art Museum and the Washington State Historical Society Museum both reported tremendous benefit. "This will be part of the Museum's identity for a long time to come," said Wendell Ott of the Tacoma Art Museum. "It was a giant step for us, he said, "we raised $600,000, which means we could do it again!" For the staff and board of the historical museum, a major impact came from the fact that they created the exhibition, they weren't simply the presenter of a show created elsewhere.
In late summer 1990, a few co-producers could already point to specific future opportunities that resulted from their Goodwill Arts Festival project. Paul Taub was invited to participate in the Leningrad Spring Festival. The University of Washington Press was engaged in discussions of a sequel or "follow on" to the Goodwill book of essays. One of the most enthusiastic reports on the festival's impact came from Alice B. Theatre, which was already beginning to plan an exchange with one of the companies included in their festival project. "This event was a milestone in the Gay Theatre Movement," theater staff reported. "It succeeded in solidifying our field's identity and prompted an important dialog about the future of theatre, performance art and lesbian/gay culture in the US. Plans are already being made for a second National Gay & Lesbian Theatre Festival (San Francisco, 1991) ... The boost (that Alice B.) received from inclusion in Goodwill Arts and the NEA grant is almost incalculable ... Its lasting impact on our audience, our organization and our artistic peers cannot be overestimated."
The diversity at the festival provides another clue to its significance. The great range in artistic discipline, in the cultures represented, in aesthetic approach taken, in the size of the individual events and in their location provided a tremendous diversity for audiences as well. This region's citizens and visitors were given an incredible array of ways to participate in the arts presented, not only as audience members but as volunteers and supporters. "Thousands of people were involved in at least 100 productions," reported Jane Zalutsky. The impact of the festival was felt on a very personal level.

For many, the impact of the Goodwill Arts Festival was in large part due to its tremendous size and to the fact that it was a one-time-only event. "Special events," commented Andrews, "can help organizations accomplish remarkable things." However, this certainly doesn't happen in every case, and a contrasting view was articulated by others.
"Special events will always face problems because they are in addition to everything else," observed Jane Williams. Peter Davis agreed saying that, as they decide whether to participate in large special events, ongoing organizations must consider how the event supports their continuing activities. "Special events are not their basic business," he said. A representative of A Contemporary Theatre wrote: "the festival structure threatens to skew the institutional priorities of local arts organizations. We could participate in a similar arts festival only if a higher percentage of costs were provided by the festival organizers. Without such funding, we could participate only if our regular programming were included in the festival."
In addition to the many arts events that were part of the official festival program, almost every festival co-producer sponsored additional events that reached out to people in less formal ways -- discussions, readings, workshops, symposia and open rehearsals. These offered people in the region many educational and behind-the-scenes experiences with the artists, producers, curators, performers and others who were closely involved with festival presentations. A simple brochure produced with the help of the Seattle Arts Commission listed over 75 such "extras."
The debate over whether large special events contribute to or detract from the ongoing artistic life of a community will probably never fully be settled in the abstract, and strongly-held positions will be maintained on both sides. In practice, each situation is a "special" case to be evaluated in the context of its own specific circumstances. One of the favorite topics of speculation following the Goodwill Arts Festival was whether or not it should be the first of an ongoing series of international festivals. In the fall of 1990, responses ranged from "We shouldn't try to replicate the Goodwill Arts Festival, it should become history all by itself," to "The Goodwill Arts Festival provides a great mythic base on which to build future festivals."
An example of the effect of the festival on individuals was a sideeffect, or "surprise dividend" of the patron ticket program. In Jane Williams' words, there was "an unexpected but wonderful camaraderie that patron ticket holders experienced as we shared opening after opening together." She added, "We were like a family at an extended, cultural feast." While some co-producers (particularly those who felt excluded by the cost of the ticket,) suggested that these "black tie" events gave the festival an "elitist" tone, Paul Schell pointed out that the patron events brought business leaders and others to a variety of arts experiences they might not have attended otherwise. "It was a key to getting these leaders physically into the audience," said Williams. "And the personal connections reinforced the experience," added Schell.
Opinions about the Goodwill Arts Festival gathered immediately afterward overwhelmingly supported both its significance and its scale. "The impact of doing something on such a major scale, especially a collaborative project like this one, was encouraging beyond expectation," said ott. "It was a real boon for the area," he added.
The most significant result of the festival may lie in some aggregate of all the personal experiences of many individual people. Many coproducers were pleased that the festival gave them a chance to meet others in the arts community whom they had not known or worked with previously. "A major benefit was the opportunity the festival offered us to learn about ourselves," suggested Paul Schell. Linda Farris reinforced the value of personal experiences when she spoke of "the incredible response that artists had to coming here. The hospitality they received was exceptional -- everyone was treated so well."

For many, the value of the festival came not simply from the fact that it was big, but from the fact that it was big and broad. Paul Schell commented that one of the "wise decisions" made early on was the commitment to artistic breadth. "From individual writers to the Bolshoi, from traditional to non-traditional -- the range made the festival work and made it special," he said. This commitment was not always easy to maintain. Putting an event like this together is hard work, and there were many times when it would have been much easier to just concentrate on a few highly visible and spectacular events. While some believed it was not as broad as it could have been, it is a credit to everyone involved that the festival embodied such a wide diversity.
Peter Davis ventured, "The greatest value of the festival was probably personal. The key to its impact is found in the level of participation by the community and in the personal connections that were fostered. Grass-roots support was extraordinary. At Intiman we encouraged everyone in the company to find ways to make connections for themselves during the event, the collaboration had to be personal. Some of my highest moments were wrapped up with the people -- at the dinners and lunches, over beers, finding ways to make things happen and seeing minds explode."


Complete Listing of the Festival Program
Arab Film Festival
16 feature films from Morocco, Palestine, Tunisia, Algeria, Lebanon, Kuwait/ Sudan and Egypt
Produced by The Cinematheque
July 6-19, The Market Theater, Seattle
Art into Life: Russian Constructivism 1914-1932
Works by Soviet constructivist artists in post-Revolutionary USSR
Produced by the Henry Art Gallery with the Walker Art Center, Minneapolis
July 4 - September 2, Henry Art Gallery, University of Washington
Between Spring and Summer
Soviet Conceptual Art in the Era of Late Communism, works by Soviet artists including Sasha Brodsky, Sergei Bugaev, Ilya Kabakov, Komar and Melamid, Igor Makarevich, the Medical Hermeneutics, Sergei Mironenko, Timur Novikov, the Peppers, Dmitri Prigov, Andrei Roiter, Maria Serebriakova, Ilya Utkin, Sergei Volkov, Vadim Zakharov, Konstantin Zvezdochetov, and Larisa Zvezdochetova
Produced by the Tacoma Art Museum with the Institute for Contemporary Art in Boston
June 15 - September 9, Tacoma Art Museum

Bolshoi Ballet
"Ivan the Terrible" and a program of mixed repertory
Ballets under the artistic direction of Yuri Grigorovich
Produced by One Reel and the SOC
July 2-8, Seattle Center Opera House
Boxiana: The Women's Flyweight Championship of the world
Contemporary dance choreographed by Georgia Ragsdale with music by Karen P. Thomas
Presented by Performance Support Services
July 18-29, Washington Hall Performance Gallery, Seattle
Cirque du Soleil . "Nouvelle Experience," French-Canadian circus
Presented by One Reel
July 5-22, under a Big Top at "Ackerley Field" south of the Kingdome, Seattle
Daybreak Star Indian Goodwill village
Dwellings and live cultural presentations from more than 25 native American tribes from across the United States
Produced by United Indians of All Tribes Foundation
July 15-August 15, Discovery Park, Seattle
Ethnic Traditions
Four performances: "Mexican Festival" with Grupo Tacotano and Trio Xoxocapa, Ivo Papasov and his Bulgarian Wedding Band, "Italian Folk Festival" and the Uzbekistan Folklore Ensemble
Presented by the Northwest Folklife Festival with El Centro de la Raza, Radost folk Ensemble, Uzbek Dance Ensemble, Tanavar Dance Ensemble and the Seattle-Tashkent Sister City Committee
July 12, 15, 18, 28, Kane Hall & Meany Theatre, Univ. of Washington
International Computer Music Festival
Collaborative concerts by pairs of composer/performers: Nicholas Collins, (US), Peter Cusack (UK), Yokoyama Katsuya (Japan), Jin-Hi Kim (Korea), George Lewis (US), Don Ritter (Canada), Trichy Sankaran (India), Elliott Sharp (US), Carl Stone (US), Yuji Takahashi (Japan), Richard Teitelbaum (US), David Rosenboom (US)
Produced by Soundwork Northwest
July 5-14, Nippon Kan Theater, Seattle
The Falcon
Collaborative USSR/US production for stage and television, stage adaptation by Gregory L. Palmer
Produced by A Contemporary Theatre
July 24 - August 5, A Contemporary Theatre, Seattle
International Creative Music Orchestra
Music by Sergy Kuryokhim, Rova Saxophone Quartet and Wayne Horvitz 16-piece orchestra with players from Eastern Europe, USSR, Canada & US Produced by Earshot Jazz
July 1-3, Museum of History and Industry, Seattle
Fratelli's Family Fourth
4th of July fireworks with a concert by the Seattle Symphony
Produced by One Reel
July 4, Gas Works Park at Lake Union, Seattle
Low Technology: Artist Made Machines
Visual arts exhibition and performances by artists clair Colquitt, Survival Research Laboratories, Dale Travous, Dennis Oppenheim, Liz Young and others.
Produced by COCA (Center on Contemporary Art)
July 3 - August 20, COCA, Seattle
Goodwill Film Festival: Forum of Young Cinema
10-day festival featuring new films by and about the young from the United States, USSR, Canada, Poland, Hungary, Rumania, Yugoslavia and East Germany
Produced by the Seattle International Film Festival
July 20-29, Capitol Hill Cinemas, Seattle
MOS cow: Treasures and Traditions
• Exhibition of over 200 objects by Moscow artists and craftsmen from the 15th through the 20th centuries.
• Produced by the Seattle Goodwill Games Organizing Committee with the assistance of the Seattle Art Museum and organized by the Smithsonian Institution Traveling Exhibition Service and the USSR Ministry of Culture.
June 1 - September 30, Washington State Convention & Trade Center, Seattle
Grand Kabuki Theatre of Japan
"Migawari Zazen" (The Substitute Meditator) and "Narukami" (The Thunder God)
Kabuki theater with actor Nakamura Kichiemon II, among others
Presented by One Reel
July 12-14, Seattle Center Opera House
Pat Graney & Dancers
New large-scale outdoor dance work choreographed by Graney with 100 gymnasts and drill team performers
Presented by Performance Support Services
July 12-15, Pier 62/63, Seattle
Music for Flute by Contemporary Soviet Composers
New commissioned works by Sergei Slonimsky (USSR) and Nicolas Slonimsky (US) plus works by other Soviet composers
Commissioned, produced and performed by Paul TaubJuly 17, Nippon Kan Theater, Seattle; July 19, Great Hall at Annie Wright School, Tacoma
The Independence of Eddie Rose
First performance of a play by playwright William S. Yellow Robe, Jr.
Produced by Seattle Group Theatre
July 5 - August 5, Glenn Hughes Playhouse, Seattle
National Gay and Lesbian Theatre Festival
Two-week festival with performances by Split Britches Company (New York), Essex Hemphill/Wayson Jones (Washington D.C.), Rhiannon (San Francisco), Tim Miller (Los Angeles), Alice B. Theatre (Seattle), Buddies in Bad Times (Toronto), Michael Kearns (Los Angeles), Holly Hughes (New York), Theatre Rhinoceros (San Francisco)
Produced by Alice B. Theatre
July 4-15, Broadway Performance Hall, Seattle
In-Transition
Collaborative art works by Cecilia Alvarez, Mark Calderon, George Chacona, C.T. Chew/Duane Anderson, Donald Fels, Nina Ferrari, Lynn Hamrick, Fay Jones, Irene Kuniyuki, Mary Ann Peters, Jake Seniuk, Susan Seniuk, Carl Virgien, Liza von Rosenstiel, Preston Wadley
Organized by Donald Fels
July 2 - August 5 on Seattle Metro buses
Soviet and Seattle Youth Choir Concert
International choral music performed by the Seattle Girls' Ghoir, the Northwest Girlchoir and the Soviet Union's Shchedrik Children's Choir
Presented by the Seattle Girls' Choir
July 19, First United Methodist Church, Seattle
Openings Original Essays by Contemporary Soviet and American Writers
Book of commissioned essays by Viktor Astafyev, Gerald Early, Barry Lopez, Teymuraz Mamaladze, Alla Melik-Pashaeva, Elting E. Morrison, Aleksandr Mulyarchik, Eleanor Munro, Yuri Nagibin, Joyce Carol Oates, Viktor Potanin, Scott Russell Sanders, Valeri Vinokurov, Geoffrey C. Ward
Edited by Robert Atwan and Valeri Vinokurov
Published by the University of Washington Press and Fitkultura i Sport, Copyright 1990
Soviet Theatre: New Translations
Three Soviet plays presented in rehearsed readings in new English translations commissioned by Empty Space Theatre
Produced by Empty Space Theatre
July 15-30, Empty Space Theatre, Seattle
Origins: The Experience of Multi-culturalism
Art installations and performances by Hank Bull (Vancouver B.C.), Guillermo Gómez-Peña (San Diego), Yong Soon Min (New York), and Cecilia Alvarez, Mary Ann Peters and Buster Simpson (Seattle).
Produced by Nine One One Contemporary Arts Center
July 22 - August 5, in windows around Seattle (Nine One One, Greg Kucera Gallery, Windhorse Gallery), on radio KBCS-FM, and at On the Boards.
Sovremennik Theatre of Moscow, USSR
"Into the Whirlwind" and Chekhov's "Three Sisters"
Contemporary Soviet theater under the direction of Galina Volchek
Presented by Intiman Theatre and One Reel
July 25 - August 5, Bagley Wright Theatre, Seattle
Sports Feelings
Exhibition of sports photography by Soviet and US photographers
Presented by the Museum of History and Industry
July 18 - September 9, Museum of History and Industry, Seattle
Pacific Northwest Ballet
"The Firebird," "Prodigal Son," and "Paquita"
Ballets choreographed by Kent Stowell, George Balanchine and Marius Petipa
Produced by the Pacific Northwest Ballet
July 10 & 11, Seattle Center Opera House
Views and Visions in the Pacific Northwest
An exhibition of modern art produced by artists in the Northwest . Produced by the Seattle Art Museum
June 7 - September 2, Seattle Art Museum, Volunteer Park
Pan African Mass
Large scale choral performance of non-denominational masses with music from African-American roots
Produced by Kent Stevens
St. James Cathedral, Seattle
War and Peace
Opera by Sergei Prokofiev based on the novel by Tolstoy . Produced by the Seattle Opera, General Director, Speight Jenkins, with an international ensemble of performers from the US and the Soviet Union
July 22, 25, 27, 29, 31, August 2, 4, Seattle Center Opera House
Pilgrims of the Night
New play by Len Jenkin commissioned by Theater Zero . Produced by Theater Zero and New City Theater
July 11-29, New City Theater, Seattle
Russian America: The Forgotten Frontier
An exhibition illustrating commerce, culture and colonialism in Alaska during 1741-1867
Produced by the Washington State Historical Society and the Anchorage Museum of History and Art
July 2 - August 5, Washington Historical Society Museum, Tacoma
Eredented Shostakosinta Fobanam. P radio festavkovaku end Sedechov
Shostakovich Quartet Music by Shostakovich, Lobanov, Borodin, Tchaikovsky and Balashov
Presented by the Santa Fe Chamber Music Festival and the Seattle Chamber Music Festival
July 23, Moore Theater, Seattle; July 24, Pantages Centre, Tacoma

People Behind the Festival
Tacoma - Pierce County Goodwill Arts Committee
Dr. Richard D. Moe, Chair
Seattle Goodwill Games Organizing Committee
Board of Directors
Rev. William J. Sullivan, S.J., Chairman Robert B. McMillen, Vice-Chairman
Carl G. Behnke Herb Bridge Charles Cereghino James D. Dwyer Daniel J. Evans Linda Farris
Gary D. Gayton James S. Griffin Rhonda Hilyer Donald J. Horowitz
Janet W. Ketcham John McMillan Dr. Charles Mitchell Toshi Moriguchi David Sabey Michael Scallon Paul Schell James Talbot Dr. William Wiley Jane Williams
Eli Ashley Redmond Barnett Linda BeMiller Thomas Cunningham Molly Gazecki Martha Gruber Rod Hagenbuch Karin Hirschfeld Roy Kimbel Linda Martin Laura McCann Dorothy McCuistion Maargy McGroarty
Robert Minnerly Dr. John Moore David Nicandri Wendell Ott Paul Schweikert Jacki Skaught Nikki Smith Bobbie Street Michael Sullivan Grace Sutherland Chellis Swenson Elodie Vandervert Jack Warnick
Principal Soc Arts Staff and Contractors
Robert M. Walsh, SOC President Kathy Scanlan, SOC Executive Vice President Jarlath Hume, SOC Vice President for Community Relations
Anne Focke, Arts Advisor Marschel Paul, Associate Arts Advisor (1987 and 1988) One Reel, Festival Producer C. David Hughbanks, Managing Director, Moscow: Treasures & Traditions Ellen Ziegler, Design of Arts Festival logo and look Heller Ehrman White and McAuliffe, especially Roberta Katz,
Legal Counsel for the Arts Festival (contributed services)
Goodwill Arts Committee
Paul Schell, Co-Chair Jane Williams, Co-Chair
SOC Department of Community Relations/arts
May Lui, Finance Katya Garrow, Program Coordination Beth Horowitz, Administrative Assistant
Festival Producer/One Reel Staff
Dr. Ellsworth C. Alvord Beverly Brazeau Harriett Bullitt Joan Caine Chris Crosby Donald Crum Peter Davis Peter Donnelly Sturges Dorrance Linda Farris Max E. Gellert Max Gurvich Rod Hagenbuch
Scott Hickey John E. Iverson Peter Miller Dr. Richard D. Moe Shelley Morrison Tracy Savage Laura Sindell Kent Stowell Bobbie Street George Suyama Andrea Wagner Carol Wright
Norman Langill, Executive Producer, President, One Reel Jane Zalutsky, Associate Producer Louise DiLenge, Senior Vice President Sheila Hughes, Public Relations Director David Doxtater, One Reel Production Director Ann Sarna, Business Manager Marschel Paul, Goodwill Arts Festival Project Coordinator Laura Stusser, Marketing and Sponsorship Coordinator Richard Moore, Production Manager John Vadino, Bumbershoot/Grand Kabuki Tour Production Director Carl Diltz, Publications Director Leith Gaines, Assistant to the Executive Director Julie Peterson, Promotion Assistant Arden Clise, Public Relations Assistant Bernardo PeBenito, Graphic Designer

Kristen Fortier, Box Office manager Alex Glant, Goodwill Arts Festival Hospitality Coordinator Lisa Robinson, Assistant Hospitality Coordinator Dennis Scott, Hospitality Production Coordinator Brian McKenna, Concierge Shelley Morrison, Promotions Consultant Marie Hauge, office Systems Manager Laurie Scott, Accountant Christian Conti, Assistant to the Senior Vice President Randy Damewood, Production Assistant Susan Mortensen, Public Relations Coordinator Kathleen McLaughlin, Production Assistant Laurie Jacoby, One Reel Booking Director Jeannie Falls, One Reel Projects Manager Judith Roche, Literary Coordinator Jon Kertzer, International Booking Coordinator Jason Townley, Assistant to Production manager Suzanne Fry, Grand Kabuki Tour Company Manager Kuniko Usui, Grand Kabuki Tour Director Jane Corddry, Japan Projects Director Mark Hauge, Receptionist
Leslie Wilson Barbara Connor David Bobanick David Olsen Jill Rulkoetter Michael McColly Evelyn Klebanoff Gail Joice Lee Williams Chris Gould Shelby Newton Kristen Nelson Annette Finlon Halinka Wodzicka Matthew O'Leary Artech TRA Robert E. Bayley
Construction, Inc.
Volunteer Administrator Volunteer Administrator Evening Manager Assistant Weekend Manager Museum Docents/Education Russian Musical Groups Exhibition Registrar Registrar Advisor Registrar Advisor Art Care Coordinator VIP Room Coordinator VIP Room Guide VIP Room Guide Evening Group Lecturer Evening Group Lecturer Contracted Installation Architectural & Engineering Design Construction, Lighting, Casework
Soc Soc SOC SOC SAM* SAM* SOC* SAM* SITES* SOC SOC SOC SOC SOC SOC

Public Relations/Media
Nan Smith Hall Jeri McDonald
News Media/Community Consultant, National, Regional,
Local Arts Speakers' Bureau
Moscow: Treasures & Traditions Management Staff
Volunteer
Marcia K. Johnson/
Ellen Ramsey
Administration
C. David Hughbanks Nancy Tonkin Steve Landas Marcia K. Johnson Roberta R. Katz
Managing Director Assistant to the Director Accounting Special Events Heller Ehrman White & McAuliffe
SOC SOC SOC Volunteer Volunteer
Marketing/Tickets/Group Sales
Janine La Voie
Manager Karri Gohm
Sales Coordinator Laura Jackson
Group Sales LaRayne Power
Group Sales Michele Thornquist Group Sales Sally Suchevits
School Groups Antenna
Audio Tour Worldwide Exhibitions Gift Store
Ltd.
The Boeing Company Sponsor Coordination
Fred Kelley
Manager, Corporate Communications Dave Jenks
Collateral Design/Production Lu Rivera
Collateral Design/Production Rick Turnbaugh
Education & Public Sponsor Video
Production Jack Faris
Cole & Weber, Sponsor Advertising
Boeing Boeing Boeing Boeing

Catalogue
Andrea Stevens University of
Washington Press
Coordination Publishing

Curatorial
Zelfira Tregulova Donald McClelland Jay Gates Sally Hoffman Patterson Sims Julie Emerson
USSR Ministry of Culture Exhibition Coordinator & Curator Director Associate Curator & Historian Associate Director & Curator Assocaite Curator
SITES* SAM* SITES* SAM* SAM*
Abbreviations:
SOC SAM SITES
Seattle Goodwill Games Organizing Committee Staff Seattle Art Museum Staff Smithsonian Institution Traveling Exhibition Service Staff
Operations/Construction/Installation
Michael Whittle
Manager Kelly Brandon
Exhibit Design & Signage Michael McCafferty Exhibit Design & Installation

Services performed under contractual relationships with the soc

PDF Document