by Wikipedia
Accessed: 5/5/20
Professor Rockefeller and Professor John Elder organized and directed at Middlebury College in 1990 the Spirit and Nature Symposium that included the Dalai Lama and was filmed by Bill Moyers for public television. In the mid-1990s, Professor Rockefeller chaired the Middlebury College Environmental Council. Under his leadership, the Council prepared and submitted to the College president “Pathways to a Green Campus” (1995), a comprehensive environmental report on the state of the college with 22 recommendations. Professor Rockefeller served as president of the Demeter Fund, which created the Charlotte Park and Wildlife Refuge in Vermont overlooking Lake Champlain and the Adirondack Mountains. He is the founding president of the Otter Creek Child Care Center in Middlebury, Vermont.
For over thirty years Professor Rockefeller has served as a trustee of the Rockefeller Brothers Fund, an international foundation with grantmaking programs in democratic practice, sustainable development, and peacebuilding. From 1998 to 2006 he chaired the RBF board of trustees. Among the other boards and commissions on which he has served are the National Commission on the Environment (organized by the World Wildlife Fund), the National Audubon Society, the Colonial Williamsburg Foundation, the Asian Cultural Council, and the Council of the UN mandated University for Peace in Costa Rica. He is a member of the Council on Foreign Relations.
Over the past two decades, Professor Rockefeller has been actively involved in the Earth Charter Initiative, which in and through extensive worldwide, cross cultural dialogue has endeavored to identify and articulate shared values that provide an ethical foundation for the emerging global community. From 1997 to 2000, he chaired the Earth Charter international drafting committee for the Earth Charter Commission. A final version of the Earth Charter—a declaration of global interdependence and universal responsibility with fundamental principles for creating a just, sustainable and peaceful world—was launched by the Earth Charter Commission at the Peace Palace in The Hague in 2000. From 2000 to 2010, Professor Rockefeller served as co-chair of the Earth Charter International (ECI) Council. The ECI Secretariat is based at the University for Peace in Costa Rica and has affiliates in 73 different countries. The Earth Charter has been translated into over 40 languages and endorsed by over 5,000 organizations globally, including UNESCO and the World Conservation Congress of IUCN.
-- Open Letter to the [Middlebury] President and Trustees, by Steven C. Rockefeller
Asian Cultural Council
Geographic purview of the ACC
Abbreviation: ACC
Formation: 1980 (1963 - 1979 as Asian Cultural Program of the JDR 3rd Fund)
Type: 501(c)(3) Non-profit
Purpose: Cultural exchange
Headquarters: New York City
Location: New York City; Hong Kong; Manila; Taipei; Tokyo
Region served: USA and Asia
Official language: English
Chairman: Wendy O'Neill
Website http://www.asianculturalcouncil.org
The Asian Cultural Council (ACC) (traditional Chinese: 亞洲文化協會; simplified Chinese: 亚洲文化协会; pinyin: Yàzhōu Wénhuà Xiéhuì; Cantonese Yale: Ajāu Màhnfa Hipwúi; Japanese: アジアン・カルチュラル・カウンシル; Korean: 아시아 문화 협회) is a non-profit organization dedicated to advancing international cultural exchange between Asia and the U.S. and between the countries of Asia through the arts. [1] Founded by John D. Rockefeller 3rd in 1963, ACC has invested over $100 million in grants to artists and arts professionals representing 16 fields and 26 countries through over 6,000 exchanges.[2]Annually, ACC supports $1.4 million in grants for individuals and organizations.[3]
ACC awards fellowship grants to artists and scholars and project grants for organizations in three categories of cross-cultural exchange: Asia-to-U.S., U.S.-to-Asia, and intra-Asia. The programming of each grant is customized to the goals of the grant recipient.
ACC is both a grantmaking and grantseeking organization. It is supported by funding from individuals, foundations, and corporations including The Andrew W. Mellon Foundation, Beijing Contemporary Art Foundation, Ford Foundation, the Henry Luce Foundation, Mandarin Oriental Hotel Group, Newman’s Own Foundation and The Starr Foundation.
Billy Hitchcock [Mellon] wasn't the only figure in the Mellon clan who rubbed shoulders with the espionage community. A number of Mellons served in the OSS, notably David Bruce, the OSS station chief in London (whose father-in-law, Andrew Mellon, was treasury secretary during the Depression). After the war certain influential members of the Mellon family maintained close ties with the CIA. Mellon family foundations have been used repeatedly as conduits for Agency funds. Furthermore, Richard Helms was a frequent weekend guest of the Mellon patriarchs in Pittsburgh during his tenure as CIA director (1966-1973).
-- Acid Dreams, The Complete Social History of LSD: The CIA, The Sixties, And Beyond, by Martin A. Lee & Bruce Shlain
Background: Ford Foundation and the CIA
By the late 1950s the Ford Foundation possessed over $3 billion in assets. The leaders of the Foundation were in total agreement with Washington's post-WWII projection of world power. A noted scholar of the period writes: "At times it seemed as if the Ford Foundation was simply an extension of government in the area of international cultural propaganda. The foundation had a record of close involvement in covert actions in Europe, working closely with Marshall Plan and CIA officials on specific projects" (Ibid, p.139). This is graphically illustrated by the naming of Richard Bissell as President of the Foundation in 1952. In his two years in office Bissell met often with the head of the CIA, Allen Dulles, and other CIA officials in a "mutual search" for new ideas. In 1954 Bissell left Ford to become a special assistant to Allen Dulles in January 1954 (Ibid, p. 139). Under Bissell, the Ford Foundation (FF) was the "vanguard of Cold War thinking".
One of the FF first Cold War projects was the establishment of a publishing house, Inter-cultural Publications, and the publication of a magazine Perspectives in Europe in four languages. The FF purpose according to Bissell was not "so much to defeat the leftist intellectuals in dialectical combat (sic) as to lure them away from their positions" (Ibid, p. 140). The board of directors of the publishing house was completely dominated by cultural Cold Warriors....
Another journal Der Monat funded by the Confidential Fund of the U.S. military and run by Melvin Lasky was taken over by the FF, to provide it with the appearance of independence (Ibid, p. 140).
In 1954 the new president of the FF was John McCloy. He epitomized imperial power. Prior to becoming president of the FF he had been Assistant Secretary of War, president of the World Bank, High Commissioner of occupied Germany, chairman of Rockefeller's Chase Manhattan Bank, Wall Street attorney for the big seven oil companies and director of numerous corporations. As High Commissioner in Germany, McCloy had provided cover for scores of CIA agents (Ibid, p. 141).
McCloy integrated the FF with CIA operations. He created an administrative unit within the FF specifically to deal with the CIA. McCloy headed a three person consultation committee with the CIA to facilitate the use of the FF for a cover and conduit of funds. With these structural linkages the FF was one of those organizations the CIA was able to mobilize for political warfare against the anti-imperialist and pro-communist left. Numerous CIA "fronts" received major FF grants. Numerous supposedly "independent" CIA sponsored cultural organizations, human rights groups, artists and intellectuals received CIA/FF grants. One of the biggest donations of the FF was to the CIA-organized Congress for Cultural Freedom which received $7 million by the early 1960s. Numerous CIA operatives secured employment in the FF and continued close collaboration with the Agency (Ibid, p. 143).
-- The Ford Foundation and the CIA, by James Petras
Once ambitious to become Secretary of State in a Republican administration, Henry R. Luce penned a famous article in Life magazine in 1941, called "The American Century", which defined the role of American foreign policy for the remainder of the 20th century (and perhaps beyond).
An ardent anti-Soviet, he once demanded John Kennedy invade Cuba, later to remark to his editors that if he did not, his corporation would act like Hearst during the Spanish–American War. The publisher would advance his concepts of US dominance of the "American Century" through his periodicals with the ideals shared and guided by members of his social circle, John Foster Dulles, Secretary of State and his brother, director of the CIA, Allen Dulles.
-- Henry Luce, by Wikipedia
Mandarin Oriental, Hong Kong is a five-star hotel located on Connaught Road in Central, Hong Kong, owned and managed by Mandarin Oriental Hotel Group....Mandarin Oriental Hotel Group (MOHG; Chinese: 文華東方酒店), a member of the Jardine Matheson Group, is an international hotel investment and management group with luxury hotels, resorts and residences in Asia, Europe and the Americas.
-- Mandarin Oriental Hotel Group, by WikipediaJardine Matheson Holdings Limited (also known as Jardines) is a British conglomerate incorporated in Bermuda and headquartered in Hong Kong, with its primary listing on the London Stock Exchange and secondary listings on the Singapore Exchange and Bermuda Stock Exchange. The majority of its business interests are in Asia, and its subsidiaries include Jardine Pacific, Jardine Motors, Jardine Lloyd Thompson, Hongkong Land, Jardine Strategic Holdings, Dairy Farm, Mandarin Oriental Hotel Group, Jardine Cycle & Carriage and Astra International. It sponsors the Jardine Scholarship.
Jardines was one of the original Hong Kong trading houses or Hongs that date back to Imperial China and, as of December 2010, 41 percent of the company's profits were still earned in China. The company is controlled by the Keswick family, who are descendants of co-founder William Jardine's older sister, Jean Johnstone.
-- Jardine Matheson, by WikipediaIn the 1920s, the U.S. threw its weight behind Chiang Kai-shek, whose Kuomintang Party was fighting the Communists and several other warlords for control of China. The U.S. was competing with the other colonial nations for control of China, which had a cheap labor force and represented billions in profits for U.S. corporations and investors. The problem was that the Kuomintang supported itself through the opium trade. It's well documented in the diplomatic cables between the U.S. government and its representatives in China. Historians Kinder and Walker said the Commissioner of the Bureau of Narcotics, Harry Anslinger, "clearly knew about the ties between Chiang and opium dealers."
Anslinger knew that Shanghai was "the prime producer and exporter to the illicit world drug markets," through a syndicate controlled by Du Yue-sheng, a crime lord who facilitated Chiang's bloody ascent to power in 1927. As early as 1932, Anslinger knew that Chiang's finance minister was Du's protector. He'd had evidence since 1929 that American t'ongs were receiving Kuomintang narcotics and distributing it to the Mafia. Middlemen worked with opium merchants, gangsters like Du, Japanese occupation forces in Manchuria, and Dr. Lansing Ling, "who supplied narcotics to Chinese officials traveling abroad." In 1938 Chiang Kai-shek appointed Dr. Ling head of his Narcotic Control Department.
In October 1934, the Treasury attache in Shanghai "submitted reports implicating Chiang Kai-shek in the heroin trade to North America." In 1935 the attache reported that the Superintendent of Maritime Customs in Shanghai was "acting as agent for Chiang Kaishek in arranging for the preparation and shipment of the stuff to the United States."
These reports reached Anslinger's desk, so he knew which KMT officials and trade missions were delivering dope to American t'ongs and which American Mafia drug rings were buying it. He knew the t'ongs were kicking back a percentage of the profits to finance Chiang's regime.
After Japanese forces seized Shanghai in August 1937, Anslinger was even less willing to deal honestly with the situation. By then Du was sitting on Shanghai's Municipal Board with William J. Keswick, a director of the Jardine Matheson Shipping Company. Through Keswick, Du found sanctuary in Hong Kong, where he was welcomed by a cabal of free-trading British colonialists whose shipping and banking companies earned huge revenues by allowing Du to push his drugs on the hapless Chinese. The revenues were truly immense: according to Colonel Joseph Stilwell, the U.S. military attache in China, in 1935 there were "eight million Chinese heroin and morphine addicts and another 72 million Chinese opium addicts."
Anslinger tried to minimize the problem by lying and saying that Americans were not affected. But the final decisions were made by his bosses in Washington, and from their national security perspective, the profits enabled the Kuomintang to purchase $31 million worth of fighter planes from arms dealer William Pawley to fight the Communists, and that trumped any moral dilemmas about trading with the Japanese or getting Americans addicted.
It's all documented. Check the sources I cite in my books. Plus, U.S. Congressmen and Senators in the China Lobby were profiting from the guns for drugs business too. They got kickbacks in the form of campaign funds and in exchange, they looked away as long as Anslinger told them the dope stayed overseas. After 1949, the China Lobby manipulated public hearings and Anslinger cooked the books to make sure that the Peoples Republic was blamed for all narcotics coming out of the Far East. Everyone made money and after 1949 the operation was run out of Taiwan, with CIA assistance.
-- The CIA as Organized Crime: How Illegal Operations Corrupt America and the World, by Douglas ValentineThe Keswick family (pronounced with a silent "w", "Kezzick") are a business dynasty of Scottish origin associated with the Far East since 1855 and in particular the conglomerate Jardine Matheson.
As tai-pans of Jardine Matheson & Company, the Keswick family have at some time been closely associated with the ownership or management of the Hongkong and Shanghai Banking Corporation, the Indo-China Steam Navigation Company Ltd., the Canton Insurance Office Ltd, (now the HSBC Insurance Co), The Hongkong and Kowloon Wharf and Godown Company Limited, Star Ferry, Hong Kong Tramway, the Hong Kong Land Investment and Agency Co Ltd, and the Hongkong and Whampoa Dock Co Ltd.
The Hon. William Keswick (1834–1912)
The founder of the dynasty, he was born in 1834, in Dumfriesshire in the Scottish Lowlands. His grandmother, Jean Jardine Johnstone was an older sister of Dr. William Jardine, the founder of Jardine Matheson & Company. His father Thomas Keswick had married Margaret Johnstone, Jardine's niece and daughter of Jean, and entered the Jardine business. The company operated as opium traders and had a major influence in the First and Second Opium Wars although the company stopped this trading in 1870 to pursue a broad range of other trading interests including shipping, railways, textiles and property development.
William arrived in China and Hong Kong in 1855, the first of five generations of the Keswick family to be associated with Jardines. He established a Jardine Matheson office in Yokohama, Japan in 1859. He returned to Hong Kong to become a partner of the firm in 1862. He became managing partner (Taipan) from 1874 to 1886. He left Hong Kong in 1886 to work with Matheson & Co. in London as a senior director responsible only to Sir Robert Jardine (1825–1905), a son of David Jardine, William Jardine's older brother and the head of Mathesons in London.
-- Keswick family, by Wikipedia
Originally called The Mandarin, the hotel was built on the former site of the colonial Queen's Building on the waterfront in Central Hong Kong. From the onset, the concept was to create a hotel firmly rooted in Eastern culture, providing gracious service to a standard generally experienced only in the Asia–Pacific region. The original cost of construction totalled HKD 42 million, while the interior design amounted to even 50% more at HKD 66 million, sparing no luxury or detail. John Howarth of Leigh & Orange architectural firm was hired to design the building while the interior was entrusted to Don Ashton, a Hollywood Art Director for such films as The Bridge on the River Kwai, Indiscreet, and Billy Budd. The Mandarin officially opened for business in October 1963, and at 26 storeys, it was the tallest building in Hong Kong. In addition to its record-setting height, the hotel was the first in Hong Kong to have direct dial phones and the first in Asia to include a bath in every guestroom. The hotel quickly drew recognition for its service and elegance, and back in 1967 was listed by Fortune magazine as one of eleven great hotels in the world.
-- Mandarin Oriental, Hong Kong, by Wikipedia
Mandarin Oriental, Bangkok is a five-star hotel in Bangkok owned in part and managed by Mandarin Oriental Hotel Group. Located on the banks of the Chao Phraya River, the original structure was the first hotel built in Thailand when it opened as The Oriental in 1876. Today, the hotel is one of two flagship properties of Mandarin Oriental Hotel Group.
Germaine Krull
At the end of the war a six-person partnership each contributed US$250 to buy the hotel, badly run down from its wartime service. The partnership consisted of Germaine Krull (1897–1985), Prince Bhanu, General Chai Prateepasen, Pote Sarasin (prominent businessman and lawyer) and John Webster and Jim Thompson, two Americans who had served in the Office of Strategic Services (OSS) and who had stayed on in Thailand. Krull took the position of manager in 1947, despite no prior experience in the hotel field. Born in Germany, she had been best known as a photographer during the 1920s before service in the Pacific as a war correspondent for Agence France Presse. The hotel's restoration and restocking offered Thompson an opportunity to put to use his architectural and artistic abilities.
The hotel reopened for business on 12 June 1947. Krull turned out to be a natural hotelier and during her reign restored the hotel to its position as the premier hotel in Thailand. Thompson soon left the partnership over a plan to build a new wing, though he stayed on in residence at the hotel for some time. To compete with popular clubs and a new local bar called Chez Eve, Krull established the Bamboo Bar, which soon became one of the leading bars in Bangkok.[6]
In 1958 the ten-storey Garden Wing was built. It featured the city’s first elevator and was home to the Le Normandie Restaurant.[2] In 1967, fearful that Thailand would fall to the communists, Krull sold her share to Italthai which at the time was well on its way to becoming one of the country’s most significant mercantile groups eventually totally some 60 companies involved in almost all aspects of the Thai economy....
Mandarin Oriental Hotel Group and Mandarin Oriental, Bangkok
-- Mandarin Oriental, Bangkok, Wikipedia
Cornelius Vander Starr also known as Neil Starr or C. V. Starr (October 15, 1892 – December 20, 1968) was an American businessman and operative of the Office of Strategic Services, the predecessor of the CIA, who was best known for founding, in 1919, C.V. Starr & Co. (later known as Starr Companies) in Shanghai, China. Starr's "hand-picked successor" was Maurice Greenberg, who took a lead role in forming AIG as a Starr subsidiary. AIG grew from an initial market value of $300 million to $180 billion, becoming the largest insurance company in the world.
-- Cornelius Vander Starr, by Wikipedia
ACC is headquartered in New York City with regional offices and affiliate foundations in Hong Kong (ACC Hong Kong Foundation est. 2015), Manila (ACC Philippines Foundation est. 2000), Taipei (ACC Taiwan Foundation est. 1995) and Tokyo (ACC Japan Foundation est. 2018).
History
The Asian Cultural Program of the JDR 3rd Fund (1963-1980)
The JDR 3rd Fund was incorporated in 1963 as a private non-profit by John D. Rockefeller 3rd "to stimulate, encourage, promote, and support activities important to human welfare." [4] The Asian Cultural Program of the JDR 3rd Fund—precursor to the Asian Cultural Council—was established to promote cultural exchange in the arts between the United States and Asia. ACC’s founding director, Porter McCray, was the former director of circulating exhibitions at the Museum of Modern Art in New York City.[5]Through the 1960s, the Asian Cultural Program of the JDR 3rd Fund made 80 to 100 grants annually to artists, scholars, students and institutions. Richard S. Lanier succeeded Porter McCray as director in 1975. [6]
Archives concerning the JDR 3rd Fund, the Asian Cultural Program, and the Asian Cultural Council can be found at the Rockefeller Archive Center. [7]
The Asian Cultural Council (1980-)
Following the death of John D. Rockefeller 3rd in 1978, the Asian Cultural Program became the Asian Cultural Council (ACC) and was established as a publicly supported operating foundation. Blanchette Hooker Rockefeller, wife of John D. Rockefeller 3rd, became ACC’s first Chairman and Elizabeth J. McCormack, Director of the Rockefeller Philanthropy Office, became Vice President. Subsequent directors were Ralph Samuelson (1991-2008) and Jennifer P. Goodale (2008-2013), and ACC's current Executive Director is Miho Walsh.
Leadership
• Chairman: Wendy O’Neill
• Executive Director: Miho Walsh[8]
• ACC Hong Kong Foundation Limited Chairman: Hans Michael Jebsen
• ACC Taiwan Foundation Chairman: Douglas Tong Hsu
• ACC Japan Foundation Chairman: Kazuko Aso
• ACC Philippines Foundation Inc. Chairman: Ernest L. Escaler
Programs
ACC Grantee, Japanese contemporary artist Takashi Murakami at Versailles Sept. 2010
ACC provides grants for individual fellowships, projects and organizations, graduate studies, and travel. They support activities that involve cultural immersion; cross-cultural engagement; and relationship building, collaboration, or exchange of best practices among arts professionals.[9]In addition to funding, it is common for grantees to receive mentoring and personal introductions, and access to an international network of alumni.
ACC provides grants from Asia to the U.S., U.S. to Asia, and intra-Asia. Regions include: Afghanistan, Bangladesh, Bhutan, Brunei, Cambodia, China, East Timor, Hong Kong, India, Indonesia, Japan, Korea, Laos, Macau, Malaysia, Mongolia, Myanmar, Nepal, Pakistan, Philippines, Singapore, Sri Lanka, Taiwan, Thailand, Vietnam, and United States of America.
Fields include: Archaeology, Architecture, Art History, Arts Administration, Arts Criticism, Conservation, Crafts, Curation, Dance, Ethnomusicology, Film/Video/Photography, Literature, Museum Studies, Music, Theater and Visual Art.
In addition to grants, ACC organizes public programs to facilitate understanding and dialogue around cultural exchange. This includes forums, convenings, and officially established programs such as the East-West Dialogues and Cultural Conversations. In 2000 and 2003, ACC organized Forums on Arts and Culture in the Mekong Region with funding from the Rockefeller Foundation, and in 2017, the ACC Forum: Making the Case for Cultural Exchange through funding by the Henry Luce Foundation.
The East-West Dialogues is an annual lecture series engaging leaders from the arts and cultural fields in Asia and the West. It was established in 2013 through an endowment gift from Tsuneko and Shoji Sadao. Speakers have included author Pico Iyer, writer and editor Ian Buruma, American theater director Peter Sellars, Japanese architect Fumihiko Maki, and president of Japan Society of Boston Peter Grilli.
Cultural Conversations is an in-house lecture series that features ACC alumni and their work. Conversations have been led by alumni such as wooden boat builder Douglas Brooks (ACC multiple grants 2008-2017), Shiro Nakane and the Japan Society (ACC multiple grants 1964-2015), artist Oscar Oiwa (ACC 2001), shamisen performer Hidejiro Honjo (ACC 2016), Taiwanese choreographer Cheng Tsung-Lung (ACC 2011), [10], composer Matt Welch (ACC 2016), and scholar Urmila Mohan (ACC 2018).[11]
Program Timeline
Below is a list of ACC programs. Those established through an initial donation, grant, or endowment have funding individuals or organizations noted in parentheses.
1983: ACC Japan-United States Program (Seiji Tsutsumi and the Seibu Saison group)
• Ford Foundation Fellowship Program for individuals documenting and preserving the traditional arts of Asia (Ford Foundation)
• Starr Foundation Visual Arts Program for artists and art specialists from Asia to travel to the United States (Starr Foundation)
1984: Samuel H. Kress Foundation Fellowships for American art history students conducting dissertation research in Asia (Samuel H. Kress Foundation)
1985: The Humanities Fellowship Program for American scholars and students carrying out research in Asia (National Endowment for the Humanities)
1986: The Hong Kong Arts Program—now called the China, Hong Kong and Macau Program—for artists, students and scholars from Hong Kong to research, study and create work in the United States (Asian Oceanic Group, British American Tobacco Company (Hong Kong) Limited and the Lee Hysan Foundation)
1987: The Asian Art and Religion Fellowship Program for American scholars, specialists and artists to undertake research and projects in Asia involving the intersection or religion and the arts (Laurance S. Rockefeller Jr.)
1993: The Indonesian Museum Development Program—organized in collaboration with the Nusantara Jaya Foundation and the Indonesia Directorate of Museums—for Indonesian museum professionals to intern in the United States and to help with museum workshop programs in Indonesia (Ford Foundation)
1994:
• The Blanchette Hooker Rockefeller Fellowship Fund Committee was organized in Japan to establish an endowment honoring the memory of the late Blanchette Hooker Rockefeller
• ACC Residency Program in Asia for American scholars, artists, and professionals to research, teach, and partake in residencies in Asia (Freeman Foundation)
1995:
• ACC’s Taiwan Fellowship Program for the exchange of artists, scholars, and specialists between Taiwan and the United States, as well as Taiwan and other countries in Asia (Sino-American Foundation, now the ACC Taiwan Foundation)
• China On-Site Seminar Program for the exchange of American and Chinese art history students (Henry Luce Foundation)
• Ock Rang Cultural Foundation Fellowship Program for cultural exchange between Korea and the U.S. and Korea and other countries in Asia
1997:
• The Cambodian Artists Mentorship Program to support performing arts training programs at the Royal University of Fine Arts in Phnom Penh (Rockefeller Foundation)
• The Indonesia Cultural Management Assistance Project to support the management of cultural institutions in Indonesia (Ford Foundation)
2000:
• The Philippines Fellowship Program for the exchange of artists, scholars, and specialists between the Philippines and the U.S., and the Philippines and other countries in Asia (ACC Philippines Foundation)
2001: The Mekong Region Fellowship Program to assist individual artists, scholars, and specialists from Burma, Cambodia, Laos, Thailand, Vietnam, and China’s Yunnan Province to undertake research, training and creative projects in the United States or Asia (Rockefeller Foundation)
2005: The Mandarin Oriental Fellowship to support the preservation of indigenous arts, cultures, and traditions of Asia (Mandarin Oriental Foundation)
2007: American Artists and Museum Professionals Program (Henry Luce Foundation)
2008: The Starr Foundation Performing Arts Program for individuals and institutions working in the contemporary performing arts in Asia to travel to the United States (The Starr Foundation)
2011: Arts in Action Program to support arts communities in need of assistance for rebuilding after natural disasters (Mikimoto)
2012: The Elizabeth J. McCormack Fund was established as an endowment to support the general operations of ACC
2019: The ACC/BCAF Contemporary Arts Fellowship Program for exchange of artists from China and the United States (Beijing Contemporary Art Foundation)
John D. Rockefeller 3rd Award
The John D. Rockefeller 3rd Award is given to individuals from Asia or the U.S. who have made significant contributions to the international understanding, practice, or study of the visual or performing arts of Asia.[12]
Past awardees
• 1970: Richard Bartholomew, New Delhi, India
• 1986: John M. Rosenfield, Abby Aldrich Rockefeller Professor of Fine Arts, Harvard University
• 1987: José Maceda, Chairman, Department of Music, Research College of Music, University of the Philippines
• 1988: James R. Brandon, Professor, Department of Drama and Theatre, University of Hawai’i at Manoa
• 1990: Sherman E. Lee, Former Director, The Cleveland Museum of Art
• 1991: Chou Wen-chung, Director, Center for U.S.-China Arts Exchange, Columbia University
• 1992: Kapila Vatsyayan, Director, Indira Gandhi National Centre for the Arts, New Delhi
• 1993: Donald Richie, Film critic and writer, Tokyo
• 1995: Setsu Asakura, Stage designer, Tokyo
• 1996: Ma Chengyuan, Director, Shanghai Museum
• 1997: Beate Gordon, Arts consultant and writer, New York
• 1998: Nguyen Van Huy, Director, Vietnam Museum of Ethnology, Hanoi
• 1999: Proeung Chhieng, Dean, Faculty of Choreographic Arts, Royal University of Fine Arts, Phnom Penh
• 2000: Ellen Stewart, Founder and Artistic Director, La MaMa Experimental Theater Club, New York
• 2002: Yang Meiqi, Founder, Guangdong Modern Dance Company, Guangzhou
• 2003: Judy Mitoma, Director, Center for Intercultural Performance, University of California, Los Angeles
• 2005: Mella Jaarsma, Nindityo Adipurnomo, Founders, Cemeti Art House, Yogyakarta
• 2006: Lin Hwai-min, Artistic Director, Cloud Gate Dance Theater, Taipei
• 2007: Nestor O. Jardin, President, Cultural Center of the Philippines, Manila
• 2008: Ratan Thiyam, Founder and Director, Chorus Repertory Theatre, Manipur
• 2010: Samina Quraeshi, Writer, Artist, Designer, Shepard/Quraeshi Associates, Inc., Boston
• 2013: Amna Kusumo, Director, Yayasan Kelola, Jakarta
• 2013: Pichet Klunchun, Choreographer and Dancer, Phichet Klunchun Dance Company, Thailand
• 2013: Chinary Ung, Composer, Composers Institute in Asia; University of California, San Diego
• 2015: Duk-Hyung Yoo, President, Seoul Institute of the Arts, Seoul
• 2017: Shen Wei, Founder, Shen Wei Dance Arts
• 2019: Kengo Kuma, Architect, Kengo Kuma & Associates
Blanchette Hooker Rockefeller Award
The Asian Cultural Council established the Blanchette Hooker Rockefeller Award in 2009 in honor of its first Chairman, Blanchette Hooker Rockefeller, wife of John D. Rockefeller 3rd. The Blanchette Hooker Rockefeller Award honors the generosity of the enlightened individuals who believe ACC’s mission of furthering international dialogue, understanding, and respect between Asia and the U.S. through the transformative experience of cultural exchange.
Past awardees
• 2009: Dr. Deanna Ruth Tak Yung Rudgard, OBE, Non-executive Director, Hysan Development Company Limited
• 2012: Seiji Tsutsumi, President, The Saison Foundation
• 2018: Hans Michael Jebsen, Chairman, Jebsen & Co. Ltd., ACCHK Chairman
• 2019: Elizabeth J. McCormack, Chairman Emeritus, Asian Cultural Council
Artistic Advisory Council
ACC Grantee, American film and theater director and writer Julie Taymor
• Yael Buencamino (Philippines)
• Cai Guo-Qiang, Visual Art (ACC 1995 & 2006, China/U.S.)
• Tiffany Chung, Visual Art (ACC 2015, U.S./Vietnam)
• Patrick Flores, Museum Studies (ACC 2009, Philippines)
• Oscar Ho, Visual Art (ACC 1992, Hong Kong)
• David Henry Hwang, Theater (ACC 2012, U.S.)
• Jin Xing, Dance (ACC 1988, China)
• Kengo Kuma, Architecture (ACC 1985, Japan)
• Dinh Q. Le, Visual Art (ACC 2004, Vietnam/U.S.)
• Barbara London, Film, Video, and Photography (ACC 1995 & 1997, U.S.)
• Fumihiko Maki, Architecture (ACC 1976, Japan)
• Meredith Monk, Theater (ACC 1997 & 2000, U.S.)
• Kohei Nawa, Visual Art (ACC 2004, Japan)
• Jan Leeroy New, Visual Art (ACC 2015, Philippines)
• Viet Thanh Nguyen, Film, Video, and Photography (ACC 2010, U.S.)
• Ong Keng Sen, Theater (ACC 1993, Singapore)
• Mallika Sarabhai, Arts General (ACC 2002, India)
• Sheu Fang-Yi, Dance (ACC 2006, Taiwan)
• Louisa So Yuk Wa, Theater (ACC 2008, Hong Kong)
• Julie Taymor, Theater (ACC 1980, U.S.)
• Tran Luong, Visual Art (ACC 1998 & 2008, Vietnam)
• Apichatpong Weerasethakul, Film, Video, and Photography (ACC 2004, Thailand)
• Robert Wilson, Theater (ACC 1981 & 2004, U.S.)
References
1. https://www.guidestar.org/profile/13-3018822
2. http://artasiapacific.com/News/AsianCul ... Recipients
3. https://www.asianculturalcouncil.org/ou ... tions-news
4. https://rockarch.org/collections/rockor ... s.php#jdr3
5. https://www.nytimes.com/2000/12/10/nyre ... hical-note
6. https://www.asianculturalcouncil.org/ab ... ur-history
7. https://rockarch.org/collections/rockor ... s.php#jdr3
8. http://www.impactmania.com/article/asia ... -exchange/
9. https://philanthropynewsdigest.org/news ... nge-grants https://iscp-nyc.org/sponsor/acc-asian-cultural-council
10. https://www.nytimes.com/2019/07/30/arts ... Position=1
11. https://www.asianculturalcouncil.org/bl ... mila-mohan
12. https://artsbeat.blogs.nytimes.com/2014 ... Position=1