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108-545: Dickerson Park was established by the Springfield Park Board in 1922 and developed with the aid of Works Progress Administration (WPA) labor and funds in the 1930s. From then until the 1970s, very little development or support occurred, and by 1975, the zoo became rundown. It was on the verge of being closed, but a commitment was made by the City of Springfield, and a support group was created known as Friends of

216-609: A Nation , about housing conditions in New York; Power , about energy from the consumer's point of view; and Triple A Plowed Under , on farming problems in America. Another that was criticized, on the history of medicine, was not completed. Dramas criticized by Congress were American Holiday , about a small-town murder trial; Around the Corner , a Depression-era comedy; Chalk Dust , about an urban high school; Class of '29 ,

324-667: A New Deal program established August 27, 1935, funded under the Emergency Relief Appropriation Act of 1935 . Of the $ 4.88 billion allocated to the WPA, $ 27 million was approved for the employment of artists , musicians , writers and actors under the WPA's Federal Project Number One . Government relief efforts funding theatre through the Federal Emergency Relief Administration and Civil Works Administration in

432-664: A Time , and Paul de Kruif 's Men Against Death were both honored by the National Committee for Education by Radio. In March 1939, at the invitation of the BBC, Flanagan broadcast the story of the Federal Theatre Project to Britain. Asked to expand the program to encompass the entire WPA, the radio division produced No Help Wanted , a dramatization by William N. Robson with music by Leith Stevens . The Times called it "the best broadcast ever sent us from

540-560: A chance to participate in the work program. In the South, as might have been expected, this participation has been limited, and differential wages on the basis of race have been more or less effectively established; but in the northern communities, particularly in the urban centers, the Negro has been afforded his first real opportunity for employment in white-collar occupations. The WPA mostly operated segregated units, as did its youth affiliate,

648-529: A female President who works for peace. Negro Theatre Unit productions that drew criticism were The Case of Philip Lawrence , a portrait of life in Harlem; Did Adam Sin? , a review of black folklore with music; and Haiti , a play about Toussaint Louverture . Also criticized for their content were the dance dramas Candide , from Voltaire; How Long Brethren , featuring songs by future Guggenheim Fellowship recipient Lawrence Gellert ; and Trojan Incident ,

756-424: A local public relief agency approved by the WPA. The WPA Division of Employment selected the worker's placement to WPA projects based on previous experience or training. Worker pay was based on three factors: the region of the country, the degree of urbanization , and the individual's skill . It varied from $ 19 per month to $ 94 per month, with the average wage being about $ 52.50—$ 1,136 in present-day terms. The goal

864-560: A new zoo, with geographic themes and phased development. The zoo became involved in Species Survival Plans , most notably Asian elephants , maned wolves and cheetahs . In-house and outreach education programs were offered to the community. The growth of tourism in the region contributed to increases in attendance and offered visitors to the community another attraction when visiting the Ozarks. An update and revision of

972-450: A profound impact on library life in America. The WPA spent $ 4.47 million on removal and internment between March and November 1942, slightly more than the $ 4.43 million spent by the Army for that purpose during that period. Jason Scott Smith observes that "the eagerness of many WPA administrators to place their organization in the forefront of this wartime enterprise is striking.” The WPA

1080-504: A result of geography, language origins, history, tradition, custom, occupations of the people." On October 24, 1935, Flanagan prefaced her instructions on the Federal Theatre's operation with a statement of purpose: The primary aim of the Federal Theatre Project is the reemployment of theatre workers now on public relief rolls: actors, directors, playwrights, designers, vaudeville artists, stage technicians, and other workers in

1188-484: A sudden movement and killed the zoo's head of elephants zookeeper John Bradford, age 62, who had been with the zoo since 1990. It is thought that Patience, (not understanding the reason for the euthanasia,) may have blamed the head zookeeper for Connie's death. The city said no disciplinary action would be taken against Patience, adding: "The animal will not be euthanized." Works Progress Administration The Works Progress Administration ( WPA ; renamed in 1939 as

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1296-813: A sufficient number of unemployed people in the theatre profession. The project in Alabama was closed in January 1937 when its personnel were transferred to a new unit in Georgia. Only one event was presented in Arkansas. Units created in Minnesota, Missouri and Wisconsin were closed in 1936; projects in Indiana, Nebraska, Rhode Island and Texas were discontinued in 1937; and the Iowa project was closed in 1938. Many of

1404-491: A total of 7 million presumably employable persons between the ages of 16 and 65 inclusive. Of these, however, 1.65 million were said to be farm operators or persons who had some non-relief employment, while another 350,000 were, despite the fact that they were already employed or seeking work, considered incapacitated. Deducting this 2 million from the total of 7.15 million, there remained 5.15 million persons age 16 to 65, unemployed, looking for work, and able to work. Because of

1512-509: A translation of Euripides with a prologue from Homer. Help Yourself , a satire on high-pressure business tactics, was among the comedies criticized by Congress. Others were Machine Age , about mass production; On the Rocks by George Bernard Shaw ; and The Tailor Becomes a Storekeeper . Children's plays singled out were Mother Goose Goes to Town , and Revolt of the Beavers , which

1620-418: A week and have only four hours per day to rehearse. During its nearly four years of existence 30 million people attended FTP productions in more than 200 theaters nationwide — renting many that had been shuttered — as well as parks, schools, churches, clubs, factories, hospitals and closed-off streets. Its productions totaled approximately 1,200, not including its radio programs. Because the Federal Theatre

1728-689: A white project manager in Dallas was fired for attempting to segregate black and white theater technicians on a railroad car. Additionally, the white assistant director of the project was pulled because "he was unable to work amicably" with the black artists. The FTP overtly sought out relationships with the African American community including Carter Woodson of the Association for the Study of Negro Life and History , as well as Walter White of

1836-629: Is a great hunger and eagerness for music." In 1929, Broadway alone had employed upwards of 25,000 workers, onstage and backstage; in 1933, only 4,000 still had jobs. The Actors' Dinner Club and the Actors' Betterment Association were giving out free meals every day. Every theatrical district in the country suffered as audiences dwindled. The New Deal project was directed by playwright Hallie Flanagan , and employed 12,700 performers and staff at its peak. They presented more than 1,000 performances each month to almost one million people, produced 1,200 plays in

1944-546: Is that: "In the distribution of WPA project jobs as opposed to those of a supervisory and administrative nature politics plays only a minor in comparatively insignificant role." However those who were hired were reminded at election time that FDR created their job and the Republicans would take it away. The great majority voted accordingly. WPA projects were administered by the Division of Engineering and Construction and

2052-985: The Federal Writers' Project (FWP), the Historical Records Survey (HRS), the Federal Theatre Project (FTP), the Federal Music Project (FMP), and the Federal Art Project (FAP). In the Historical Records Survey, for instance, many former slaves in the South were interviewed; these documents are of immense importance to American history. Theater and music groups toured throughout the United States and gave more than 225,000 performances. Archaeological investigations under

2160-604: The NAACP . One of the existing stipulations from the Works Progress Administration for employment in the FTP was prior professional theater experience. However, when encountered with 40 young jobless black playwrights, national director Hallie Flanagan waived the WPA requirement in the interest of providing a platform and training ground for new young playwrights. During a national conference Flanagan proposed that

2268-666: The National Youth Administration . Blacks were hired by the WPA as supervisors in the North; however of 10,000 WPA supervisors in the South, only 11 were black. Historian Anthony Badger argues, "New Deal programs in the South routinely discriminated against blacks and perpetuated segregation." The League of the Physically Handicapped in New York was organized in May 1935 to end discrimination by

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2376-554: The National Youth Administration . The average worker was about 40 years old (about the same as the average family head on relief). WPA policies were consistent with the strong belief of the time that husbands and wives should not both be working (because the second person working would take one job away from some other breadwinner). A study of 2,000 female workers in Philadelphia showed that 90% were married, but wives were reported as living with their husbands in only 18 percent of

2484-555: The U.S. Supreme Court for killing the Agricultural Adjustment Act . These politically themed plays quickly drew criticism from members of Congress . Although the undisguised political invective in the Living Newspaper productions sparked controversy, they also proved popular with audiences. As an art form, the Living Newspaper is perhaps the Federal Theatre's most well-known work. Problems with

2592-570: The Work Projects Administration ) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated ) to carry out public works projects, including the construction of public buildings and roads. It was set up on May 6, 1935, by presidential order, as a key part of the Second New Deal . The WPA's first appropriation in 1935 was $ 4.9 billion (about $ 15 per person in

2700-482: The Works Progress Administration , created not as a cultural activity but as a relief measure to employ artists, writers, directors, and theater workers. National director Hallie Flanagan shaped the FTP into a federation of regional theaters that created relevant art, encouraged experimentation in new forms and techniques, and made it possible for millions of Americans to see live theatre for

2808-617: The African American Dance Unit featuring Nigerian artists displaced by the Ethiopian Crisis . These projects employed over 1,000 black actors and directors. The Negro Actors' Guild of America incorporated on October 1, 1936 in the state of New York. The ten Articles for the Certificate of Incorporation addressed the welfare, appreciation and development of black artists. The Federal Theatre Project

2916-735: The Americas". The Federal Dance Project (FDP) was a short-lived entity that was ultimately absorbed into the Federal Theater Project. Dancer Helen Tamiris was the central figure of the FDP, which existed as an independent entity from January 1936 until October 1937. In May 1938, Martin Dies Jr ., director of The House Committee on Un-American Activities specifically targeted the WPA's Federal Theatre Project. Assailing Flanagan's professional character and political affiliations,

3024-567: The Depression years as seen through young college graduates; Created Equal , a review of American life since colonial times; It Can't Happen Here , Sinclair Lewis 's parable of democracy and dictatorship; No More Peace , Ernst Toller 's satire on dictatorships; Professor Mamlock , about Nazi persecution of Jews; Prologue to Glory , about the early life of Abraham Lincoln; The Sun and I , about Joseph in Egypt; and Woman of Destiny , about

3132-712: The Division of Professional and Service Projects. Most projects were initiated, planned and sponsored by states, counties or cities. Nationwide projects were sponsored until 1939. The WPA built traditional infrastructure of the New Deal such as roads, bridges, schools, libraries, courthouses, hospitals, sidewalks, waterworks, and post-offices, but also constructed museums, swimming pools, parks, community centers, playgrounds, coliseums, markets, fairgrounds, tennis courts, zoos, botanical gardens, auditoriums, waterfronts, city halls, gyms, and university unions. Most of these are still in use today. The amount of infrastructure projects of

3240-499: The Federal Music Project gave music classes to an estimated 132,000 children and adults every week, recorded folk music, served as copyists, arrangers, and librarians to expand the availability of music, and experimented in music therapy. Sokoloff stated, "Music can serve no useful purpose unless it is heard, but these totals on the listeners' side are more eloquent than statistics as they show that in this country there

3348-505: The Federal Theatre Project and Congress intensified when the State Department objected to the first Living Newspaper, Ethiopia , about Haile Selassie and his nation's struggles against Benito Mussolini 's invading Italian forces . The U.S. government soon mandated that the FTP, a government agency, could not depict foreign heads of state on the stage for fear of diplomatic backlash. Playwright and director Elmer Rice , head of

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3456-426: The Federal Theatre Project. The others included 32 revivals or stock productions; seven plays that were initiated by community groups; five that were never produced by the project; two works of Americana; two classics; one children's play; one Italian translation; and one Yiddish play. The Living Newspapers productions that drew criticism were Injunction Granted , a history of American labor relations; One-Third of

3564-402: The Federal Theatre is far from perfect, it has kept an average of ten thousand people employed on work that has helped to lift the dead weight from the lives of millions of Americans. It has been the best friend the theatre as an institution has ever had in this country." We let out these works on the vote of the people. Part of the Works Progress Administration, the Federal Theatre Project was

3672-684: The Federal Theatre. Blitzstein, Houseman, Welles and Feder collaborated on the controversial production, The Cradle Will Rock . Living Newspapers were plays written by teams of researchers-turned-playwrights. These men and women clipped articles from newspapers about current events, often hot button issues like farm policy, syphilis (spirochete) infection, the Tennessee Valley Authority , and housing inequity . These newspaper clippings were adapted into plays intended to inform audiences, often with progressive or left-wing themes. Triple-A Plowed Under , for instance, attacked

3780-844: The French Theatre in Los Angeles, the German Theater in New York City, and the Negro Theatre Unit which had several chapters across the country, with its largest office in New York City. The FTP set up 17 so-called Negro Theatre Units (NTU) in cities throughout the United States. The NTU had additional offices in Hartford, Boston, Salem, Newark, and Philadelphia in the East; Seattle, Portland, and Los Angeles in

3888-564: The Negro Youth Theater— were dedicated to the Harlem community with the intention of developing unknown theatre artists. Both theatre projects were headquartered at the Lafayette Theatre in Harlem, where some 30 plays were presented. The first was Frank H. Wilson 's folk drama, Walk Together Chillun (1936), about the deportation of 100 African-Americans from the South to the North to work for low wages. The second

3996-446: The New York office of the FTP, resigned in protest and was succeeded by his assistant, Philip W. Barber. Numbers following the city of origin indicate the number of additional cities where the play was presented. Capitalizing on the FTP's national network and inherent diversity of artists, the Federal Theatre established specific chapters dedicated to showcasing and celebrating the work of previously under-represented artists. Including

4104-826: The South's population did not have access to any public library. Libraries that existed circulated one book per capita. The early emphasis of these programs was on extending library services to rural populations, by creating libraries in areas that lacked facilities. The WPA library program also greatly augmented reader services in metropolitan and urban centers.   By 1938, the WPA Library Services Project had established 2,300 new libraries, 3,400 reading rooms in existing libraries, and 53 traveling libraries for sparsely settled areas. [1] Federal money for these projects could only be spent on worker wages, therefore local municipalities would have to provide upkeep on properties and purchase equipment and materials. At

4212-462: The South, whereas the West was less of a sure thing; swing states took priority over the other states. There was a perception that WPA employees were not diligent workers, and that they had little incentive to give up their busy work in favor of productive jobs. Some employers said that the WPA instilled poor work habits and encouraged inefficiency. Some job applicants found that a WPA work history

4320-560: The U.S., around 6.7 percent of the 1935 GDP). Headed by Harry Hopkins , the WPA supplied paid jobs to the unemployed during the Great Depression in the United States , while building up the public infrastructure of the US, such as parks, schools, and roads. Most of the jobs were in construction, building more than 620,000 miles (1,000,000 km) of streets and over 10,000 bridges, in addition to many airports and much housing. In 1942,

4428-412: The United States. Cedric Larson stated that "The impact made by the five major cultural projects of the WPA upon the national consciousness is probably greater in total than anyone readily realizes. As channels of communication between the administration and the country at large, both directly and indirectly, the importance of these projects cannot be overestimated, for they all carry a tremendous appeal to

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4536-420: The United States. Of these, 8.3 million were children under 16 years of age; 3.8 million were persons between the ages of 16 and 65 who were not working or seeking work. These included housewives, students in school, and incapacitated persons. Another 750,000 were person age 65 or over. Thus, of the total of 20 million persons then receiving relief, 13 million were not considered eligible for employment. This left

4644-518: The WPA against the physically disabled unemployed. The city's Home Relief Bureau coded applications by the physically disabled applicants as "PH" ("physically handicapped"). Thus they were not hired by the WPA. In protest, the League held two sit-ins in 1935. The WPA relented and created 1,500 jobs for physically disabled workers in New York City. About 15% of the household heads on relief were women, and youth programs were operated separately by

4752-751: The WPA included 40,000 new and 85,000 improved buildings. These new buildings included 5,900 new schools; 9,300 new auditoriums, gyms, and recreational buildings; 1,000 new libraries; 7,000 new dormitories; and 900 new armories. In addition, infrastructure projects included 2,302 stadiums, grandstands, and bleachers; 52 fairgrounds and rodeo grounds; 1,686 parks covering 75,152 acres; 3,185 playgrounds; 3,026 athletic fields; 805 swimming pools; 1,817 handball courts; 10,070 tennis courts; 2,261 horseshoe pits; 1,101 ice-skating areas; 138 outdoor theatres; 254 golf courses; and 65 ski jumps. Total expenditures on WPA projects through June 1941 totaled approximately $ 11.4 billion—the equivalent of $ 236 billion today. Over $ 4 billion

4860-485: The WPA libraries was extremely positive. For many, "the WPA had become 'the breadline of the spirit.'" At its height in 1938, there were 38,324 people, primarily women, employed in library services programs, while 25,625 were employed in library services and 12,696 were employed in bookbinding and repair.   Because book repair was an activity that could be taught to unskilled workers and once trained, could be conducted with little supervision, repair and mending became

4968-467: The WPA played a key role in both building and staffing internment camps to incarcerate Japanese Americans . At its peak in 1938, it supplied paid jobs for three million unemployed men and women, as well as youth in a separate division, the National Youth Administration . Between 1935 and 1943, the WPA employed 8.5 million people (about half the population of New York). Hourly wages were typically kept well below industry standards. Full employment, which

5076-410: The WPA were influential in the rediscovery of pre-Columbian Native American cultures, and the development of professional archaeology in the US. The WPA was a federal program that ran its own projects in cooperation with state and local governments, which supplied 10–30% of the costs. Usually, the local sponsor provided land and often trucks and supplies, with the WPA responsible for wages (and for

5184-400: The WPA. The WPA was largely shaped by Harry Hopkins , supervisor of the Federal Emergency Relief Administration and close adviser to Roosevelt. Both Roosevelt and Hopkins believed that the route to economic recovery and the lessened importance of the dole would be in employment programs such as the WPA. Hallie Flanagan , national director of the Federal Theatre Project , wrote that "for

5292-638: The West; Cleveland, Detroit, Peoria, and Chicago in the Midwest; and Raleigh, Atlanta, Birmingham, and New Orleans in the South. There were additional units in San Francisco, Oklahoma, Durham, Camden, and Buffalo. By the project's conclusion, 22 American cities had served as headquarters for black theater units. The New York Negro Theatre Unit was the most well known. Two of the four federal theaters in New York City—Lafayette Theatre and

5400-481: The Zoo , to restore the zoo. The Friends organization developed a membership base, launched education programs and gathered support from donors for new projects and improvements. The City of Springfield committed budget dollars and instituted an admission fee to help offset expenses. The zoo's mission had the objectives of advancing recreation, education, conservation and research. A master plan, adopted in 1985, visualized

5508-656: The assumption that only one worker per family would be permitted to work under the proposed program, this total of 5.15 million was further reduced by 1.6 million—the estimated number of workers who were members of families with two or more employable people. Thus, there remained a net total of 3.55 million workers in as many households for whom jobs were to be provided. The WPA reached its peak employment of 3,334,594 people in November 1938. To be eligible for WPA employment, an individual had to be an American citizen, 18 or older, able-bodied, unemployed, and certified as in need by

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5616-597: The cases. Only 2 percent of the husbands had private employment. Of the 2,000 women, all were responsible for one to five additional people in the household. In rural Missouri, 60% of the WPA-employed women were without husbands (12% were single; 25% widowed; and 23% divorced, separated or deserted). Thus, only 40% were married and living with their husbands, but 59% of the husbands were permanently disabled, 17% were temporarily disabled, 13% were too old to work, and remaining 10% were either unemployed or disabled. Most of

5724-543: The chapter. This argument from McClendon received support from Edna Thomas , Harry Edwards, Carlton Moss , Abraham Hale Jr., Augusta Smith and Dick Campbell . This crusade for equality eventually became a sticking point for the Dies Committee , which pulled funding for the Federal Theater Project, arguing that "racial equality forms a vital part of the Communist dictatorship and practices". Numbers following

5832-494: The city of origin indicate the number of additional cities where the play was presented. Numbers following the city of origin indicate the number of additional cities where the play was presented. Numbers following the city of origin indicate the number of additional cities where the play was presented. These plays were given their first professional production in the United States by the Federal Theatre Project. Titles are shown as they appeared on event programs. Numbers following

5940-772: The city of origin indicate the number of additional cities where the play was presented. The Federal Theatre of the Air began weekly broadcasts March 15, 1936. For three years the radio division of the Federal Theatre Project presented an average of 3,000 programs annually on commercial stations and the NBC, Mutual and CBS networks. The major programs originated in New York; radio divisions were also created in 11 states. Series included Professional Parade , hosted by Fred Niblo ; Experiments in Symphonic Drama , original stories written for classical music; Gilbert and Sullivan Light Opera ,

6048-434: The commercial theatre industry; they believed the project should be led by someone with academic credentials and a national perspective. Flanagan had the daunting task of building a nationwide theater program to employ thousands of unemployed artists in as little time as possible. The Theatre industry had struggled financially prior to the financial collapse of 1929. By that time it was already threatened with extinction due to

6156-419: The committee heard testimony from former Federal Theatre Project members who were unhappy with their tenure with the project. Flanagan testified that the FTP was pro-American insofar as the work celebrated the constitutional freedoms of speech and expression to address the relevant and pressing concerns of its citizens. Citing the Federal Theatre's call for racial equality, impending war, and further perpetuating

6264-584: The complete works performed by Federal Theatre actors and recordings by D'Oyly Carte ; Ibsen's Plays , performances of 12 major plays; Repertory Theatre of the Air , presenting literary classics; Contemporary Theatre , presenting plays by modern authors; and the interview program, Exploring the Arts and Sciences . The radio division presented a wide range of programs on health and safety, art, music and history. The American Legion sponsored James Truslow Adams 's Epic of America . The children's program, Once Upon

6372-507: The cost of publication sponsored each book, the cost was anywhere from $ 5,000 to $ 10,000. In almost all cases, the book sales were able to reimburse their sponsors. Additionally, another important part of this project was to record oral histories to create archives such as the Slave Narratives and collections of folklore. These writers also participated in research and editorial services to other government agencies. This project

6480-685: The country that served an estimated eight million individuals. Directed by Nikolai Sokoloff , former principal conductor of the Cleveland Orchestra , the Federal Music Project employed over 16,000 musicians at its peak. Its purpose was to create jobs for unemployed musicians, It established new ensembles such as chamber groups, orchestras, choral units, opera units, concert bands, military bands, dance bands, and theater orchestras. They gave 131,000 performances and programs to 92 million people each week. The Federal Music Project performed plays and dances, as well as radio dramas. In addition,

6588-473: The country. The direct focus of the WPA projects changed with need. In 1935 priority projects were to improve infrastructure; roads, extension of electricity to rural areas, water conservation, sanitation and flood control. In 1936, as outlined in that year's Emergency Relief Appropriations Act , public facilities became a focus; parks and associated facilities, public buildings, utilities, airports, and transportation projects were funded. The following year saw

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6696-532: The decision, Flanagan's stepdaughter, Joanne Bentley quoted an unnamed Congressmen saying "Culture! What the Hell—Let 'em have a pick and shovel!" Members of Congress criticized a total of 81 of the Federal Theatre Project's 830 major titles for their content in public statements, committee hearings, on the floor of the Senate or House, or in testimony before Congressional committees. Only 29 were original productions of

6804-548: The distribution of surplus commodities, and school lunch projects. One construction project was the Merritt Parkway in Connecticut, the bridges of which were each designed as architecturally unique. In its eight-year run, the WPA built 325 firehouses and renovated 2,384 of them across the United States. The 20,000 miles of water mains, installed by their hand as well, contributed to increased fire protection across

6912-603: The eye, the ear, or the intellect—or all three." This project was directed by Holger Cahill , and in 1936 employment peaked at over 5,300 artists. The Arts Service Division created illustrations and posters for the WPA writers, musicians, and theaters. The Exhibition Division had public exhibitions of artwork from the WPA, and artists from the Art Teaching Division were employed in settlement houses and community centers to give classes to an estimated 50,000 children and adults. They set up over 100 art centers around

7020-407: The first manager of the Manzanar Relocation Center in California, a facility that, according to one insider, was “manned just about 100% by the WPA.” Drawing on experiences derived from New Deal era road building, he supervised the installation of such features as guard towers and spotlights. Then Secretary of Commerce Harry Hopkins praised his successor as WPA administrator, Howard O. Hunter , for

7128-448: The first time in the relief experiments of this country the preservation of the skill of the worker, and hence the preservation of his self-respect, became important." The WPA was organized into the following divisions: These ordinary men and women proved to be extraordinary beyond all expectation. They were golden threads woven in the national fabric. In this, they shamed the political philosophy that discounted their value and rewarded

7236-469: The first time. Although The Federal Theatre project consumed only 0.5% of the allocated budget from the WPA and was widely considered a commercial and critical success, the project became a source of heated political contention. Congress responded to the project's racial integration and accusations of Communist infiltration and cancelled its funding effective June 30, 1939. One month before the project's end, drama critic Brooks Atkinson summarized: "Although

7344-429: The four years it was established, and introduced 100 new playwrights. Many performers later became successful in Hollywood including Orson Welles , John Houseman , Burt Lancaster , Joseph Cotten , Canada Lee , Will Geer , Joseph Losey , Virgil Thomson , Nicholas Ray , E.G. Marshall and Sidney Lumet . The Federal Theatre Project was the first project to end; it was terminated in June 1939 after Congress zeroed out

7452-452: The funding. This project was directed by Henry Alsberg and employed 6,686 writers at its peak in 1936. By January 1939, more than 275 major books and booklets had been published by the FWP. Most famously, the FWP created the American Guide Series , which produced thorough guidebooks for every state that include descriptions of towns, waterways, historic sites, oral histories, photographs, and artwork. An association or group that put up

7560-439: The growing popularity of films and radio, but the commercial theatre was reluctant to adapt its practices. Many actors, technicians and stagehands had suffered since 1914 , when movies began to replace stock , vaudeville and other live stage performances nationwide. Sound motion pictures displaced 30,000 musicians. In the Great Depression , people with little money for entertainment found an entire evening of entertainment at

7668-438: The idea that unemployed actors get just as hungry as anybody else." Hopkins promised "a free, adult, uncensored theatre" — something Flanagan spent the next four years trying to build. She emphasized the development of local and regional theatre, "to lay the foundation for the development of a truly creative theatre in the United States with outstanding producing centers in each of those regions which have common interests as

7776-508: The introduction of agricultural improvements, such as the production of marl fertilizer and the eradication of fungus pests. As the Second World War approached, and then eventually began, WPA projects became increasingly defense related. One project of the WPA was funding state-level library service demonstration projects, to create new areas of library service to underserved populations and to extend rural service. Another project

7884-408: The leadership of the Harlem chapter of the FTP be led by an African American artist. Rose McClendon, an established actor at the time, publicly argued against this proposal and instead suggested that initially an established white theater artist take the mantle with the understanding and intention of satisfying the WPA's prior professional theater experience clause and giving way to black artists to lead

7992-435: The local level, WPA libraries relied on funding from county or city officials or funds raised by local community organizations such as women's clubs. Due to limited funding, many WPA libraries were "little more than book distribution stations: tables of materials under temporary tents, a tenant home to which nearby readers came for their books, a school superintendents' home, or a crossroads general store." The public response to

8100-711: The main activity of the WPA Library Project. The basic rationale for this change was that the mending and repair projects saved public libraries and school libraries thousands of dollars in acquisition costs while employing needy women who were often heads of households.   By 1940, the WPA Library Project, now the Library Services Program, began to shift its focus as the entire WPA began to move operations towards goals of national defense. WPA Library Programs served those goals in two ways: 1.) existing WPA libraries could distribute materials to

8208-432: The master plan for the park was completed in 1996. On October 4, 2013, the zoo euthanized one of its four elephants, the matriarch , a 41-year-old female known as Connie (AKA Pinky), who had been suffering from kidney disease and had lost nearly 1,000 pounds. Later, on October 11, another one of the zoo's elephants named Patience, (who had been reported as "hesitant and submissive" since the death of its Matriarch,) made

8316-495: The movies for 25 cents, while commercial theatre charged $ 1.10 to $ 2.20 admission to cover the cost of theater rental, advertising and fees to performers and union technicians. Unemployed directors, actors, designers, musicians and stage crew took any kind of work they were able to find, whatever it paid, and charity was often their only recourse. "This is a tough job we're asking you to do," Hopkins told Flanagan at their first meeting in May 1935. "I don't know why I still hang on to

8424-601: The nation's African-American families were either on relief or were employed by the WPA. Civil rights leaders initially objected that African Americans were proportionally underrepresented. African American leaders made such a claim with respect to WPA hires in New Jersey, stating, "In spite of the fact that Blacks indubitably constitute more than 20 percent of the State's unemployed, they composed 15.9% of those assigned to W.P.A. jobs during 1937." Nationwide in 1940, 9.8% of

8532-601: The need, not only to maintain existing facilities but to expand library services led to the establishment of the WPA's Library Projects.  With the onset of the Depression local governments facing declining revenues were unable to maintain social services, including libraries. This lack of revenue exacerbated problems of library access that were already widespread. In 1934 only two states, Massachusetts and Delaware, provided their total population access to public libraries. In many rural areas, there were no libraries, and where they did exist, reading opportunities were minimal. 66% of

8640-520: The notable artists of the time participated in the Federal Theatre Project, including Susan Glaspell who served as Midwest bureau director. The legacy of the Federal Theatre Project can also be found in beginning the careers of a new generation of theater artists. Arthur Miller , Orson Welles , John Houseman , Martin Ritt , Elia Kazan , Joseph Losey , Marc Blitzstein and Abe Feder are among those who became established, in part, through their work in

8748-653: The one that placed its faith in them, thus fulfilling the founding vision of a government by and for its people. All its people. The goal of the WPA was to employ most of the unemployed people on relief until the economy recovered. Harry Hopkins testified to Congress in January 1935 why he set the number at 3.5 million, using Federal Emergency Relief Administration data. Estimating costs at $ 1,200 per worker per year ($ 26,668 in present-day terms ), he asked for and received $ 4 billion ($ 88.9 billion in present-day terms ). Many women were employed, but they were few compared to men. In 1935 there were 20 million people on relief in

8856-466: The population were African American. However, by 1941, the perception of discrimination against African Americans had changed to the point that the NAACP magazine Opportunity hailed the WPA: It is to the eternal credit of the administrative officers of the WPA that discrimination on various projects because of race has been kept to a minimum and that in almost every community Negroes have been given

8964-512: The profession for other work had employment not come through federal relief...the WPA subsidized several new ventures in readership services such as the widespread use of bookmobiles and supervised reading rooms – services that became permanent in post-depression and postwar American libraries."   In extending library services to people who lost their libraries (or never had a library to begin with) WPA Library Services Projects achieved phenomenal success, made significant permanent gains, and had

9072-452: The public on the nature of an imminent national defense emergency and the need for national defense preparation, and 2.) the project could provide supplementary library services to military camps and defense impacted communities. By December 1941, the number of people employed in WPA library work was only 16,717. In May of the following year, all statewide Library Projects were reorganized as WPA War Information Services Programs. By early 1943,

9180-413: The rumor that the FTP was a front for radical and communist activities, Congress ended federal funding as of June 30, 1939, immediately putting 8,000 people out of work across the country. Although the overall financial cost of the FTP was minuscule in the grand scheme of the WPA's budget, Congress determined that the average American did not consider theater a viable recipient of their tax dollars. Following

9288-508: The salaries of supervisors, who were not on relief). WPA sometimes took over state and local relief programs that had originated in the Reconstruction Finance Corporation (RFC) or Federal Emergency Relief Administration programs (FERA). It was liquidated on June 30, 1943, because of low unemployment during World War II. Robert D. Leininger asserted: "millions of people needed subsistence incomes. Work relief

9396-617: The skill of the worker, and hence the preservation of his self-respect, became important," wrote Hallie Flanagan , director of the Federal Theatre Project. A theater professor at Vassar College who had studied the operation of government-sponsored theatre abroad for the Guggenheim Foundation , Flanagan was chosen to lead the Federal Theatre Project by WPA head Harry Hopkins . Flanagan and Hopkins had been classmates at Grinnell College . Roosevelt and Hopkins selected her despite considerable pressure to choose someone from

9504-529: The terms of the Relief Act of 1935, to pay wages to unemployed people. Therefore, when Federal Theatre was criticized for spending money, it was criticized for doing what it was set up to do." The FTP established five regional centers in New York, New York , Boston (Northeast), Chicago (Midwest), Los Angeles (West), and New Orleans (South). The FTP did not operate in every state, since many lacked

9612-488: The theatre field. The far reaching purpose is the establishment of theatres so vital to community life that they will continue to function after the program of this Federal Project is completed. Within a year the Federal Theatre Project employed 15,000 men and women, paying them $ 23.86 a week while the Actors Equity Association's minimum was $ 40.00. These men and women would only do six performances

9720-401: The two preceding years were amateur experiments regarded as charity, not a theatre program. The Federal Theatre Project was a new approach to unemployment in the theatre profession. Only those certified as employable could be offered work, and that work was to be within the individual's defined skills and trades. "For the first time in the relief experiments of this country the preservation of

9828-452: The vast and unparalleled New Deal propaganda network." Much of the criticism of the distribution of projects and funding allotment is a result of the view that the decisions were politically motivated. The South, despite being the poorest region of the United States, received 75% less in federal relief and public works funds per capita than the West. Critics would point to the fact that Roosevelt's Democrats could be sure of voting support from

9936-560: The women worked with sewing projects, where they were taught to use sewing machines and made clothing and bedding, as well as supplies for hospitals, orphanages, and adoption centers. One WPA-funded project, the Pack Horse Library Project , mainly employed women to deliver books to rural areas in eastern Kentucky. Many of the women employed by the project were the sole breadwinners for their families. The WPA had numerous critics. The strongest attacks were that it

10044-478: The work of closing war information centers had begun. The last week of service for remaining WPA library workers was March 15, 1943. While it is difficult to quantify the success or failure of WPA Library Projects relative to other WPA programs, "what is incontestable is the fact that the library projects provided much-needed employment for mostly female workers, recruited many to librarianship in at least semiprofessional jobs, and retained librarians who may have left

10152-673: The “building of those camps for the War Department for the Japanese evacuees on the West Coast.” The share of Federal Emergency Relief Administration and WPA benefits for African Americans exceeded their proportion of the general population. The FERA's first relief census reported that more than two million African Americans were on relief during early 1933, a proportion of the African-American population (17.8%) that

10260-545: Was Conjur' Man Dies (1936), a comedy-mystery adapted by Arna Bontemps and Countee Cullen from Rudolph Fisher 's novel. The most popular production was the third, which came to be called the Voodoo Macbeth (1936), director Orson Welles 's adaptation of Shakespeare's play set on a mythical island suggesting the Haitian court of King Henri Christophe . The New York Negro Theatre Unit also oversaw projects from

10368-436: Was created to employ and train people, not to generate revenue, no provision was made for the receipt of money when the project began. At its conclusion, 65 percent of its productions were still presented free of charge. The total cost of the Federal Theatre Project was $ 46 million. "In any consideration of the cost of the Federal Theatre," Flanagan wrote, "it should be borne in mind that the funds were allotted, according to

10476-500: Was distinguished for its focus on racial injustice. Flanagan expressly ordered her subordinates to follow the WPA policy against racial prejudice. In fact when it came to making decisions on a national level for the project, the Federal Theatre Regulation mandated that "there may be racial representation in all national planning." A specific example of the FTP's adherence to an anti-prejudicial environment came when

10584-463: Was nearly double the proportion of white Americans on relief (9.5%). This was during the period of Jim Crow and racial segregation in the South, when black Americans were largely disenfranchised . By 1935, there were 3,500,000 African Americans (men, women and children) on relief, almost 35 percent of the African-American population; plus another 250,000 African-American adults were working on WPA projects. Altogether during 1938, about 45 percent of

10692-456: Was on the ground helping with removal and relocation even before the creation of the WRA. On March 11, Rex L. Nicholson, the WPA's regional director, took charge of the “Reception and Induction” centers that controlled the first thirteen assembly centers. Nicholson's old WPA associates played key roles in the administration of the camps. WPA veterans involved in internment included Clayton E. Triggs,

10800-465: Was preferred over public assistance (the dole) because it maintained self-respect, reinforced the work ethic, and kept skills sharp." On May 6, 1935, FDR issued executive order 7034, establishing the Works Progress Administration. The WPA superseded the work of the Federal Emergency Relief Administration , which was dissolved. Direct relief assistance was permanently replaced by a national work relief program—a major public works program directed by

10908-446: Was reached in 1942 and appeared as a long-term national goal around 1944, was not the goal of the WPA; rather, it tried to supply one paid job for all families in which the breadwinner suffered long-term unemployment. In one of its most famous projects, Federal Project Number One , the WPA employed musicians, artists, writers, actors and directors in arts, drama, media, and literacy projects. The five projects dedicated to these were

11016-622: Was spent on highway, road, and street projects; more than $ 1 billion on public buildings, including the iconic Dock Street Theatre in Charleston, the Griffith Observatory in Los Angeles, and Timberline Lodge in Oregon's Mount Hood National Forest . More than $ 1 billion—$ 20.7 billion today —was spent on publicly owned or operated utilities; and another $ 1 billion on welfare projects, including sewing projects for women,

11124-541: Was the Federal Project Number One , which had five different parts: the Federal Art Project , the Federal Music Project , the Federal Theatre Project , the Federal Writers' Project , and the Historical Records Survey . The government wanted to provide new federal cultural support instead of just providing direct grants to private institutions. After only one year, over 40,000 artists and other talented workers had been employed through this project in

11232-500: Was the Household Service Demonstration Project , which trained 30,000 women for domestic employment. South Carolina had one of the larger statewide library service demonstration projects. At the end of the project in 1943, South Carolina had twelve publicly funded county libraries, one regional library, and a funded state library agency. A significant aspect of the Works Progress Administration

11340-553: Was the prelude for a national political machine on behalf of Roosevelt. Reformers secured the Hatch Act of 1939 that largely depoliticized the WPA. Others complained that far left elements played a major role, especially in the New York City unit. Representative J. Parnell Thomas of the House Committee on Un-American Activities claimed in 1938 that divisions of the WPA were a "hotbed of Communists" and "one more link in

11448-519: Was the smallest of Federal Project Number One and served to identify, collect, and conserve United States' historical records. It is one of the biggest bibliographical efforts and was directed by Luther H. Evans. At its peak, this project employed more than 4,400 workers. Before the Great Depression, it was estimated that one-third of the population in the United States did not have reasonable access to public library services. Understanding

11556-399: Was to pay the local prevailing wage, but limit the hours of work to 8 hours a day or 40 hours a week; the stated minimum being 30 hours a week, or 120 hours a month. Being a voter or a Democrat was not a prerequisite for a relief job. Federal law specifically prohibited any political discrimination against WPA workers. Vague charges were bandied about at the time. The consensus of experts

11664-476: Was viewed negatively by employers, who said they had formed poor work habits. Federal Theatre Project The Federal Theatre Project ( FTP ; 1935–1939) was a theatre program established during the Great Depression as part of the New Deal to fund live artistic performances and entertainment programs in the United States . It was one of five Federal Project Number One projects sponsored by

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