The National Endowment for the Arts’ best year for funding was 1992, when it received an annual appropriation of $175.9 million. Its best year as an institution may be this year, when it will launch, most prominently, its ambitious Shakespeare in American Communities, and maintain hundreds of local programs that enlighten, entertain and enrich, culturally and monetarily – measured through the growing recognition of the creative economy. The two dates are important because they mark the beginning of a mild form of hysteria in Congress over provocative art and the return to understanding that the arts contribute so much more than mere outrage.

The House this week will consider increasing NEA funding again – not to anything like what it received in ’92, but a modest $10 million to bring it to $127 million annually and give it the resources to continue such important work as its Jazz Masters series, grants to states (Maine will receive $829,000 this year), Heritage Fellowships for folk and traditional artists, school grants, early childhood programs and cultural tourism among many other undertakings. Shakespeare in American Communities is one of the agency’s largest events ever: A nationwide Shakespeare tour of 100 communities, including Orono, combining superlative plays with six excellent theater companies presents a wonderful opportunity for many people who may rarely see high-level live performance.

Congressional arts supporters from both parties are expected this week to introduce an amendment to increase the appropriation for the NEA, along with an additional $5 million for the National Endowment for the Humanities when the Interior appropriations bill goes to the House floor for a vote. Maine Reps. Tom Allen and Mike Michaud, members of the Congressional Arts Caucus, are both strong supporters of the measure. Rep. Allen commented the other day that he became convinced of the necessity of the arts when he was mayor of Portland a decade ago and saw the arts, in a wide variety of forms, revitalize that city. Indeed, the lesson of Portland to the rest of Maine is important: Maine communities can maintain and highlight their cultural identities, enliven themselves with greater diversity and grow part of their economies in the arts.

NEA Chairman Dana Gioia points out that every dollar his agency provides to a theater group, orchestra or exhibition generates a total of $7 for the arts organization by attracting other grants, private donations and ticket sales, which in turn helps support the community. The arts are not primarily about making money – ask any struggling theater group – but even as they have long been known as a cultural cornerstone, they have only recently been recognized for their economic benefits. The amendment’s sponsor, Rep. Louise Slaughter of New York, argues that the $232 million the federal government spent on the NEA and NEH last year had an economic impact of $132 billion.

That’s where the additional $10 million comes in this year. Her amendment would restore funding for the NEA to the level that the House passed last year by a vote of 234-192. The money was dropped during conference negotiations on the funding bill and this year the House Appropriations Committee didn’t even try, leaving the NEA budget almost level-funded at $118 million, with no new dollars for programs. Disbursing new money through grants is of direct benefit to the states, which themselves are struggling with diminished revenue.

It has taken a long time for Congress to again recognize the value of the NEA’s direct support of local cultural and artistic organizations. The message is clear now and so are the results. Congress should encourage such an important agency by supporting this responsible increase in its budget.