Page 18 RAIN September/October 1984 The New Deal: Community Arts Applied by Bill Flood Bill Flood suggested the WPA as an example of cultural pluralism and community arts in action. This is an excerpt from his thesis on cultural animation (see page 17 for details). — TK Art supplies a critical vision of the world that community arts supporters value. Socially or politically relevant art is the most obvious example of this vision, yet more subtle forms exist. The 1930s and 1940s stand as a time in U.S. history when large-scale public support for community artists facilitated participation in aft forms as well as a critical vision of life in U.S. communities. A closer look at the New Deal can lead to conclusions about community arts today. A part of President Roosevelt's economic recovery plan for the U.S. in the 1930s included public subsidies to unemployed artists. In 1933, one-sixth of U.S. citizens were receiving public welfare, and unemployment was a massive problem. Subsidies to U.S. artists during FDR's programs came through two means: a Section of Fine Arts within the U.S. Treasury and the Works Progress Administration (WPA). It was the WPA projects that captured much of the spirit of community arts. WPA projects reflected a new way of thinking about the arts. The goal of "unifying art with everyday life" was held by Holger Cahill, Director of the Federal Art Project. For the artists to be vital community members was important to Cahill. WPA projects dealt with all sides of Americans ranging from human happiness to suffering. Government and citizenry controversy over projects reflected this exposure. Some [projects] suggested new ways of human interaction and social order. Early projects were not judged by federal "quality" standards. A large volume of projects was encouraged. Federal Theatre, Music, and Literature projects focused on the proliferation of art dealing with American heritage and community life. A look at the end of WPA projects gives us an added perspective on community arts in the U.S. The following factors contributed to the end of projects: (1) Project participants were accused of being communist, socialist, or subversive; (2) Congressional alliances challenged the premise that the advancement of "tradi ©1981 JIM TAYLOR tional cultural arts" was a proper function of government; (3) The negative notion of "make-work" hindered the chance for continuation: projects served the Depression purpose, and when the crisis ended, so did the projects; (4) Rising military expenditures in the late 1930s directly drained the projects. Community Arts Centers established during the era either switched focus to war-time activities or ceased to operate; and (5) projects were handed in their latter days (early 1940s) to the states for their continuation, leading to eventual termination. The WPA projects became safe and noncontroversial. Conditions today for community arts resemble the factors resulting in the end of WPA projects. The role of public support for the arts, especially community arts, is dubious to the public. Rising military expenditures continue to compete with many community activities. Main lobby stairs at Timberline Lodge, shoiving arch formed by curved post and lintel used throughout interior. Furniture designs reflect architectural motifs such as arches. Timberline, on Mt. Hood in Oregon, was WPA Project 1101 (1936- 38). All the furnishings and decorations were made by hand in traditional techniques. WPA artists and craftsmen created oil and watercolor paintings, stained glass, hand-woven and hand- appliqued textiles, hooked rugs, hand-made tables and chairs and beds, carved neioel posts, wrought-iron fittings and gates, and more. Decorations reflected Indian, wildlife, and pioneer themes. Modeled after alpine ski lodges. Timber- line was solidly built and cost$l million. including the arts. The Comprehensive Employment and Training Act of 1970 has not proven to be a long-lasting way of stimulating employment in communities. The New Federalism transfers administration of programs and/or funds to the states, threatening the existence of many programs. Despite the problems seen through American tradition, community arts continue in the U.S. Many projects are assisted by the National Endowments for the Arts and Humanities and by state and local arts councils. □ □ See also "From New Deal to Raw Deal: Learning from the WPA" and "Alphabet Soup: '30s Federal Arts Programs," by Don Adams and Arlene Goldbard, in Cultural Democracy, January 1982, from: Alliance for Cultural Democracy, PO Box 50137, Washington, DC 20004.
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