Finally, OPS was at the forefront of policy development for 

 several Smithsonian Directives. SD-411, Parking, was the cul- 

 mination of long negotiations with the Union and much coor- 

 dination throughout SI. Recertification of parking spaces was 

 completed and the Paid Parking Program is now in full opera- 

 tion. OPS also published the Blood-borne Pathogen Standard 

 (SD-422), a program receiving increasing scrutiny in the Oc- 

 cuparional Health Field. Policies currently being written or 

 staffed include: SD-406 (Special Property Passes), Lost and 

 Found, and Violence in the Wotkplace. 



Office of Risk and Asset Management 



Sudeep Anand. Treasurer 



The Office of Risk and Asset Management was created by a 

 merger of the Offices of the Treasurer and Risk Management. 

 The office manages the Smithsonian endowment and working 

 capital funds and provides risk and insurance management ser- 

 vices to protect the Institution's assets against risk or loss. The 

 office also evaluates and develops financing for large new trust 

 projects and implements real estate transactions. 



Office of Sponsored Projects 



Ardelle Foss, Director 



The Office of Sponsored Projects served Smithsonian research- 

 ers and scholars by supporting the work of 130 principal inves- 

 tigators who submitted 200 new proposals valued at $30 

 million and by negotiating and accepting for the Institution 

 170 grant and contract awards having a value of approxi- 

 mately $12 million. 



Ombudsman 



Chandra Heilman. Smithsonian Ombudsman 



This year the Smithsonian Ombudsman worked with manag- 

 ers and approximately 250 employees as a neutral party to re- 

 solve work-related concerns. The Smithsonian Employee 

 Emergency Assistance Fund, coordinated by the Ombudsman 

 and the Agriculture Federal Credit Union, made more than 

 50 loans to help employees through personal financial 

 difficulties. 



Affiliated Organizations 



John F. Kennedy Center for the 

 Performing Arts 



James D. Wolfensohn, Chairman 

 Laurence J. Wilker, President 



The John F. Kennedy Centet for the Performing Arts plays a 

 distinctive role in the cultutal life of the United States. Each 

 year in its six theaters, it presents the best of American and in- 

 ternational artists to audiences numbering more than a mil- 

 lion people. Nationwide tours, television and radio 

 broadcasts, and performances in the community reach 20 mil- 

 lion others. Through its producing efforts, commissions, com- 

 petitions, and apprenticeship and training programs, the 

 center nurtures artists and stimulates the creation of new 

 works. Innovative programs for teachers and for students of all 

 ages in most of the 50 states make the center a leader in arts 

 education. 



In March 1994, the renowned American conductor Leonard 

 Slatkin was named the National Symphony Orchestra's new 

 music director, succeeding Mstislav Rostropovich, now con- 

 ductor laureate, who led the orchestra for 17 seasons. 



The Kennedy Center and Dance Theatre of Harlem's com- 

 munity residency began a three-year collaborative program 

 that gives more than 400 Washington-area young people and 

 their families opportunities to participate in the art of dance 

 through auditions, classes, lecture -demonstrations, work- 

 shops, and performances. 



The Kennedy Center appointed Billy Taylor, the distin- 

 guished |azz performer, historian, and lecturer, as artistic ad- 

 viser on jazz. His first program, a ]oint proiect with National 

 Public Radio, is a 26-session series to be broadcast on NPR 

 stations next year. 



The Kennedy Center Fund for New American Plays 

 awarded a total of $316,500 to five American plays and the 

 theaters that will premiere them and to five other American 

 playwrights. The awards ceremony also paid tribute to the 

 fund's founder, Roger L. Stevens, the Kennedy Center's found- 

 ing chairman and one of the most prolific producers in the 

 American theater. In seven years, the fund has enabled not-for- 

 profit theaters to mount premieres of 49 new American plays, 

 many of which have gone on to win such accolades as the 

 Tony Award and the Pulitzer Prize. 



The Kennedy Center continued to be a catalyst for the cre- 

 ation of new American dance works. In September, Twyla 

 Tharp's summer-long residency culminated in a public perfor- 

 mance of works-in-progress by Tharp and a specially assem- 

 bled group of dancers. A few weeks later David Parsons's 



HO 



