Opportunity Information: Apply for 2009NEA01ARRA60

  • The National Endowment for the Arts in the arts (see cultural affairs in cfda) sector is offering a public funding opportunity titled "The Arts and the American Recovery and Reinvestment Act of 2009, Public Law 111 5 (Recovery Act)" and is now available to receive applicants.
  • Interested and eligible applicants and submit their applications by referencing the CFDA number(s): 45.024 Promotion of the ArtsGrants to Organizations and Individuals.
  • This funding opportunity was created on Mar 2, 2009 and posted on Mar 2, 2009.
  • Applicants must submit their applications by Apr 2, 2009 Organizations are required to submit their applications electronically through Grants.gov, the federal governments online application system. The Grants.gov system must receive your application no later than 1159 p.m., Eastern Time, on April 2, 2009.. (Agency may still review applications by suitable applicants for the remaining/unused allocated funding in 2026.)
  • Each selected applicant is eligible to receive up to $250,000.00 in funding.
  • Eligible applicants include: City or township governments State governments Nonprofits having a 501(c)(3) status with the IRS, other than institutions of higher education Native American tribal governments (Federally recognized) County governments Special district governments Private institutions of higher education Public and State controlled institutions of higher education Independent school districts.
  • All applicants must be previous NEA award recipients from the past four years (see Applicant Eligibility for more information).
Apply for 2009NEA01ARRA60

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Opportunity Summary:

The Arts and the American Recovery and Reinvestment Act of 2009 (Public Law 111-5) grant opportunity (Funding Opportunity Number 2009NEA01ARRA60) was a one-time National Endowment for the Arts (NEA) funding program created during the 2009 economic downturn to stabilize employment in the nonprofit arts sector. The program was built on the Recovery Act premise that arts and cultural organizations are not only community assets, but also meaningful contributors to the economy, and that job losses in the sector could accelerate when philanthropy and other earned or contributed income declines. In response, the NEA set up an expedited funding track designed to move federal dollars quickly to national, regional, state, and local arts ecosystems specifically for job preservation.

Eligibility was intentionally narrow and targeted. Applicants had to be prior NEA award recipients from the past four years, which effectively limited competition to organizations and agencies with a recent record of NEA compliance and grant management. The eligible applicant types covered a broad range of public and nonprofit entities, including 501(c)(3) nonprofits (excluding institutions of higher education), city or township governments, county governments, state governments, special district governments, federally recognized Native American tribal governments, independent school districts, and both public/state-controlled and private institutions of higher education. Even with this wide set of organizational categories, the prior-NEA-award requirement served as the primary gatekeeper for who could apply.

Funding was provided as a discretionary federal grant under CFDA 45.024 (Promotion of the Arts - Grants to Organizations and Individuals). There was no cost sharing or matching requirement, which reduced barriers for organizations facing cash-flow constraints during the recession. Awards ranged from a floor of $25,000 to a ceiling of $250,000, making the program suitable both for smaller organizations trying to protect a handful of essential positions and for larger organizations or agencies supporting multiple job-preservation actions.

The program was deliberately constrained in what it would fund, focusing almost entirely on retaining people and preventing layoffs rather than launching new artistic initiatives. Supported projects were limited to two main cost types. First, applicants could request salary support (full or partial) for one or more positions that were central to the organization’s artistic mission and either at immediate risk of being cut or already eliminated due to the economic climate. Second, applicants could request funds for fees to previously engaged artists and/or contractual personnel, specifically to maintain or extend the period of their engagement. In practical terms, this meant the NEA was aiming to keep core artistic and operational roles intact and to prevent the cancellation or shortening of planned artist and contractor work that had already been set in motion.

Grants could be awarded in two structural ways. Some awards went directly to organizations for their own job-preservation projects, allowing a nonprofit or public entity to stabilize its internal staffing or contracted artist commitments. Other awards could go to designated local arts agencies that were eligible to subgrant, enabling those agencies to run subgranting programs and pass funds through to eligible nonprofit organizations in their area. This design reflects a rapid-distribution strategy: funders could reach individual organizations either directly or by using local arts agencies as intermediaries to move money quickly and broadly across a region.

The timeline was tight and clearly oriented toward speed. The opportunity was posted and created on March 2, 2009, with an original and current closing date of April 2, 2009. Applications had to be submitted electronically through Grants.gov, and the system had to receive the application no later than 11:59 p.m. Eastern Time on April 2, 2009. The archive date was May 2, 2009, signaling that this was a time-limited Recovery Act funding window rather than an ongoing annual program. For applicants needing the full official details, the announcement referenced an additional information link to the application guidelines, and it provided a Web Manager contact for access issues.

Overall, this NEA Recovery Act opportunity functioned as a targeted employment stabilization tool for the arts: short-deadline, no-match-required federal grants aimed at preserving mission-critical arts jobs and honoring or extending previously planned artist and contractor engagements, limited to organizations with recent NEA grant history and delivered either directly to organizations or via local arts agencies positioned to subgrant.

Frequently Asked Questions (FAQs)

What is the NEA Arts and the American Recovery and Reinvestment Act of 2009 grant opportunity?

This was a one-time National Endowment for the Arts (NEA) funding program created under the American Recovery and Reinvestment Act of 2009 (Public Law 111-5) during the 2009 economic downturn. Its core purpose was to stabilize employment in the nonprofit arts sector by moving federal dollars quickly into arts and cultural ecosystems for job preservation.

What is the Funding Opportunity Number for this program?

The Funding Opportunity Number listed for this opportunity is 2009NEA01ARRA60.

Was this an ongoing NEA program or a one-time opportunity?

It was a one-time Recovery Act funding opportunity with a short application window, designed specifically for rapid job-preservation impact during the recession rather than as an ongoing or annual program.

What problem was this grant designed to address?

The program was designed to reduce job losses in the arts sector that could accelerate when philanthropy and other earned or contributed income declined. It treated arts and cultural organizations as both community assets and contributors to the economy, and it focused on preventing layoffs and stabilizing employment.

Who was eligible to apply?

Eligibility was intentionally narrow. Applicants had to be prior NEA award recipients from the past four years, which limited applicants to organizations and agencies with a recent history of NEA compliance and grant management.

What types of organizations could apply (if they met the prior-NEA-award requirement)?

The eligible applicant types included a broad range of public and nonprofit entities, including:

  • 501(c)(3) nonprofit organizations (excluding institutions of higher education)
  • City or township governments
  • County governments
  • State governments
  • Special district governments
  • Federally recognized Native American tribal governments
  • Independent school districts
  • Public/state-controlled institutions of higher education
  • Private institutions of higher education

Even with these categories, the main gatekeeper was being a prior NEA award recipient within the last four years.

What CFDA program did this funding fall under?

Funding was provided as a discretionary federal grant under CFDA 45.024 (Promotion of the Arts - Grants to Organizations and Individuals).

Was cost sharing or matching required?

No. There was no cost sharing or matching requirement, which reduced barriers for organizations experiencing cash-flow constraints during the recession.

How much funding could an applicant request?

Awards ranged from a minimum of $25,000 to a maximum of $250,000.

What was the main purpose of the funded activities?

The program was deliberately constrained to focus almost entirely on retaining people and preventing layoffs, rather than launching new artistic initiatives.

What types of costs were supported?

Supported projects were limited to two main cost types:

  • Salary support (full or partial) for one or more positions central to the organization's artistic mission, where the positions were at immediate risk of being cut or had already been eliminated due to the economic climate.
  • Fees for previously engaged artists and/or contractual personnel, specifically to maintain or extend the period of their engagement.

Could the grant be used to start new artistic programs or initiatives?

Based on the description provided, the program was not designed to fund new artistic initiatives. It focused on preserving mission-critical jobs and maintaining or extending already-planned artist and contractor engagements.

What does "previously engaged" mean for artists and contractual personnel under this opportunity?

The opportunity specified fees for previously engaged artists and/or contractual personnel to maintain or extend their engagement period. In practical terms, it was meant to prevent the cancellation or shortening of planned work that had already been set in motion.

How were grants awarded (directly or through another entity)?

Grants could be structured in two ways:

  • Direct awards to organizations for their own job-preservation projects (supporting internal staffing or contracted artist commitments).
  • Awards to designated local arts agencies that were eligible to subgrant, allowing them to run subgranting programs and pass funds through to eligible nonprofit organizations in their area.

What role did local arts agencies play in this program?

Some funding could go to designated local arts agencies that were eligible to subgrant. This allowed those agencies to operate pass-through subgranting programs to distribute funds to eligible nonprofit organizations locally, supporting rapid distribution across a region.

When was the opportunity posted?

The opportunity was posted and created on March 2, 2009.

What was the application deadline?

The closing date was April 2, 2009. Applications had to be submitted electronically through Grants.gov, and the system had to receive the application no later than 11:59 p.m. Eastern Time on April 2, 2009.

How were applications submitted?

Applications were submitted electronically through Grants.gov, and they needed to be received by the system by the stated deadline time.

What does the archive date indicate for this opportunity?

The archive date was May 2, 2009. This signals that the program was a time-limited Recovery Act funding window rather than an ongoing grant program.

Where could applicants find the official application guidelines?

The announcement referenced an additional information link to the application guidelines for full official details.

Who could be contacted for access issues?

A Web Manager contact was provided in the announcement specifically for access issues.

In one sentence, what was this opportunity trying to accomplish?

It was a fast-turnaround, no-match-required NEA Recovery Act grant program aimed at preserving mission-critical arts jobs and maintaining previously planned artist and contractor engagements, limited to organizations with recent NEA grant history and distributed either directly or through subgranting local arts agencies.

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