This revolutionary and controversial New Deal program extended the relief to artists, actors, writers, and musicians.
Most projects were initiated, planned and sponsored by states, counties or cities. Nationwide projects were Federal project number one until Most of these are still in use today. These new buildings included 5, new schools; 9, new auditoriums, gyms, and recreational buildings; 1, new libraries; 7, new dormitories; and new armories.
In addition, infrastructure projects included 2, stadiums, grandstands, and bleachers; 52 fairgrounds and rodeo grounds; 1, parks covering 75, acres; 3, playgrounds; 3, athletic fields; swimming pools; 1, handball courts; 10, tennis courts; 2, horseshoe pits; 1, ice-skating areas; outdoor theatres; golf courses; and 65 ski jumps.
The 20, miles of water mains, installed by their hand as well, Federal project number one to increased fire protection across the country.
In priority projects were to improve infrastructure; roads, extension of electricity to rural areas, water conservation, sanitation and flood control. Inas outlined in that year's Emergency Relief Appropriations Actpublic facilities became a focus; parks and associated facilities, public buildings, utilities, airports, and transportation projects were funded.
The following year, saw the introduction of agricultural improvements, such as the production of marl fertilizer and the eradication of fungus pests. South Carolina had one of the larger statewide library service demonstration projects.
At the end of the project inSouth Carolina had twelve publicly funded county libraries, one regional library, and a funded state library agency.
The government wanted to provide new federal cultural support instead of just providing direct grants to private institutions. After only one year, over 40, artists and other talented workers had been employed through this project in the United States.
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 the eye, the ear, or the intellect—or all three.
Federal Art Project This project was directed by Holger Cahilland in employment peaked at over 5, artists. 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, children and adults.
They set up over art centers around the country that served an estimated eight million individuals. Its purpose was to establish different ensembles such as chamber groups, orchestras, choral units, opera units, concert bands, military bands, dance bands, and theater orchestras that gave an estimatedperformances and programs to 92 million people each week.
Federal Theatre Project This project was directed by Iowan Hallie Flanaganand employed 12, performers at its peak. These performers presented more than 1, performances each month to almost one million people, produced 1, plays in the four years it was established, and introduced new playwrights.
Marshall and Sidney Lumet. The Federal Theatre Project was the first project to end in June after four years from an end of funding from the federal government. Federal Writers' Project This project was directed by Henry Alsberg and employed 6, writers at its peak in In almost all cases, the book sales were able to reimburse their sponsors.
These writers also participated in research and editorial services to other government agencies. At its peak, this project employed more than 4, workers. WPA health education poster about cancer, c. The FERA's first relief census reported that more than two million African Americans were on relief during earlya proportion of the African-American population Bythere were 3, African Americans men, women and children on relief, almost 35 percent of the African-American population; plus anotherAfrican-American adults were working on WPA projects.
Altogether duringabout 45 percent of the nation's African-American families were either on relief or were employed by the WPA. 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 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 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 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.
Only 2 percent of the husbands had private employment. Of the 2, women, all were responsible for one to five additional people in the household.
Most of 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. The strongest attacks were that it was the prelude for a national political machine on behalf of Roosevelt.A significant aspect of the Works Progress Administration 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 . Federal Project Number One A significant aspect of the Works Progress Administration 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.
Nov 04, · Federal Project Number One is the collective name for a group of projects under the Work Projects Administration, a New Deal program in the United States. Of the $ billion allocated by the Emergency Relief Appropriation Act of , $27 million was approved for the employment of artists, musicians, actors and writers under the .
TheFederal Project Number One (known as “Federal One” for short) was created in as part of the Works Progress Administration (WPA). This revolutionary and controversial New Deal program extended the relief to artists, actors, writers, and musicians. In , the Works Progress Administration’s Federal Project Number One implemented relief for musicians with the Federal Music Project.
The Federal Music Project employed musicians to perform in both concert and folk/dance settings, teach lessons, and conduct musicological research. Federal Project Number One is the collective name for a group of projects under the Works Progress Administration, a New Deal program in the United States.
Of the $ billion allocated by the Emergency Relief Appropriation Act of