如果將一個地方的藝文界比作生態系統，紐約的藝文界大概是一座熱帶雨林，多樣化的文化藝術創造和體驗是這座城市最迷人的地方。而要滋養這個系統的多樣性，差異化和多元化的藝文資助便必不可少。
紐約市的五大區均有一個相應的地區文化協會，推動區內的文化藝術發展，向各類小型藝術組織和藝術家提供支援。舉例而言。曼哈頓有「曼哈頓下城文化協會」（Lower Manhattan Cultural Council）、皇后區有「皇后區藝術委員會」（Queens Council on the Arts），這些機構屬民間非營利組織，亦是政府的合作夥伴，從市政府、州政府和其他途徑獲得資源，再向中小型機構和個人發放資助。紐約本地許多初出茅蘆的藝壇新人都是憑着這類資助，走上專業發展的道路。
這類地區文化協會發放的資助金額通常較少，以曼哈頓下城文化協會的「創意參與」資助計劃為例，最高資助為八千美元；但相應而言，其資助的數量則比較多，每年資助達數百個項目；其申請的門檻亦較低，對申請人沒有經驗和組織規模的下限要求。而由於這些機構支持的對象往往是藝壇新人和小型機構，它們更重視「授人以魚不如授人以漁」的理念，往往舉辦許多針對性的免費工作坊和講座，支援藝術工作者的專業發展。各區文化協會和紐約市文化局的合作十分緊密，在資助時間、對象規模、資助金額上相互銜接互補。舉例說，每年申請人在得知政府資助申請結果後，若獲得資助，則不可再申請地區資助；否則，便正好是地區資助的開放申請階段。這種銜接的制度使得藝文機構和個人在發展的不同階段都可獲得相應的資源和協助。
為了扶持初創藝術組織，美國還有一類機構，稱為「財政贊助機構」（fiscal sponsor），主要作用並非提供贊助，而是提供非營利機構的「身分」。在美國，一般而言，贊助人必須贊助註冊的非營利機構才可獲得稅務減免；但許多小型藝文機構未必有註冊為正式的非營利機構，因為行政、法律、稅務上的要求相當繁瑣。這時，這些組織和團體便可以通過成為「財政贊助機構」的會員，獲得非營利機構的「身份」，使其贊助人獲得稅務減免。這類機構的存在，使得許多初創藝文機構無須投放太多時間和成本亦能爭取更多的社會資源。這種機構有時亦會成為政府的合作伙伴，並擔當行業培訓者的角色，推動藝術家和小型團體的專業發展—紐約藝術基金會（New York Foundation for the Arts）便是其中之一，其對本地藝文社群可謂「關懷備至」，例如為了減低華人從業者在語言方面的障礙，還專門開辦許多用華語講授的專業工作坊和講座。
紐約這一類地方性的、針對中小型機構和個人的藝文資助機構和制度，對許多銳意推動文化事業和文化產業的城市其實很有參考的作用。這一體系大致形成於上世紀七、八十年代，以回應其時藝文社群的發展和訴求，經過數十年，才形成目前的專業規模。這類機構和制度不單為藝術社群提供關鍵的補助，更為其提供行政和專業發展上的支援，是紐約重要的創意孵化器。與此同時，由於地區文化協會為非政府組織，亦相對地減少了政府透過資助對創作自由的影響和干預。正是這種分散，同時又互補的資助制度和理念，令紐約文化創作變得多樣而自由。
原載於 C2文創誌 第三十期
If we were to compare the art environment of a city to an ecosystem, then the one in New York is probably a tropical jungle. New York’s diverse art environment and experiences make the city a fascinating destination for artists and art lovers. To facilitate such environment, a diverse pool of financial supports is very crucial.
There are five districts in New York, each with a district-level art council that is set up to drive art and cultural development. They are important actors in providing support for small art organisations and artists. For instance, we have Lower Manhattan Cultural Council in Manhattan, Queens Council on the Arts in Queens, etc. These councils are non-profit organisations with close partnership with the government. They receive resources from the city hall, state government, and many other channels. The resources are distributed to small and mid-sized organisations and individuals. Many local artists in New York rely on the councils’ support to make their first step in the art industry.
The financial subsidy that these councils offer comes in small amount. Lower Manhattan Cultural Council’s highest grant, the Creative Engagement grant, is only USD8,000. But this also means that more people can be benefited by the grant. Each year, hundreds of art projects receive the Creative Engagement grant. It is not difficult to apply for the grants as there is no over-the-top requirement on work experience or organisation scale. Since these councils target upcoming artists and small organisations, they focus on teaching artists how to be sustainable in the industry. They regularly host free workshops and lectures in support of art industry workers’ career development. All the district councils work closely with the New York City Department of Cultural Affairs to coordinate their support for artists in terms of the subsidy amount, target audience, and subsidy application periods. For instance, if it is confirmed that an artist will receive subsidy from the city government, he or she could not apply for financial support from the district council. If an artist could not get subsidy from the government, then the application for subsidy from the district council starts after the government announces the beneficiaries. The coordination brings relevant support to individual artists and art organisations in different stage.
In the U.S., there are organisations that are called fiscal sponsors that support art startups. Their function is not to provide subsidy but to give NPOs recognition. In general, sponsors will need to provide financial support for registered NPOs to receive tax exemption or reduction. But many small-sized art organisations might not have the registered status because there are a lot of administrative, legal and tax requirements. These fiscal sponsors spare art startup organisations from spending lots of time and expenses in trying to get more social resources. These organisations can sometimes be government’s collaborating partners and train industry workers to drive the development of artists and groups. New York Foundation for the Arts is one of these organisations. It offers incredible support to the local art community, such as helping Chinese industry workers overcome language barrier and organising Chinese workshops and seminars, etc.
New York’s support system and subsidising organisations hold significant value in driving the development of the art and cultural industry. This support system was established between the 70s and 80s in response to the demands coming from art and cultural communities. After decades of development, the support system finally matured to today’s scale. These organisations and system do not just provide art communities with crucial financing, but also make contribution to administrative and professional development, serving as important art and creativity incubators in New York. On the other hand, these organisations are NGOs at nature, meaning they reduce government influence in art creation. The diverse art environment in New York can thrive in the city thanks to the financial support system and less government intervention.
Source: C2 Issue 30