WPA Federal Project Number One
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| WPA Federal Project Number One | |
|---|---|
| Name | WPA Federal Project Number One |
| Established | 1935 |
| Dissolved | 1943 |
| Agency | Works Progress Administration |
| Jurisdiction | United States |
| Headquarters | Washington, D.C. |
| Key people | Harry Hopkins, Harold Ickes, Eleanor Roosevelt, Franklin D. Roosevelt |
WPA Federal Project Number One was a New Deal cultural program initiated under the Works Progress Administration to employ artists, writers, musicians, actors, and historians during the Great Depression. It sought to produce public art, theater, music, writing, and historical documentation across the United States while supporting the Roosevelt administration's relief efforts. The project collaborated with federal agencies, state governments, universities, and civic institutions to create lasting cultural works.
Background and Establishment
Established amid the economic crisis of the 1930s, the program emerged from debates in the Roosevelt administration between figures such as Harry Hopkins and Harold Ickes over relief strategy. Legislative roots trace to the Emergency Relief Appropriation Act of 1935 and the broader New Deal portfolio including the Public Works Administration and Civilian Conservation Corps. Influential advocates included Eleanor Roosevelt and cultural administrators connected to the Works Progress Administration leadership. Early directives referenced precedents like the Federal Art Project pilot efforts and drew inspiration from international cultural programs such as the Bolshevik cultural policies and the Arts Council model in the United Kingdom.
Programs and Divisions
Federal Project Number One encompassed multiple divisions mirroring institutional counterparts: a Federal Art Project, Federal Theatre Project, Federal Music Project, Federal Writers' Project, and Historical Records Survey. Each division partnered with local entities including municipal libraries, state historical societies, and university presses such as Columbia University and Harvard University. Administrative frameworks integrated with agencies like the National Archives and educational initiatives connected to the Works Progress Administration vocational training schemes. Directors and notable administrators included figures associated with the American Federation of Musicians, the Actors' Equity Association, and literary networks tied to the New York Writers' Project.
Projects and Notable Works
The program produced murals in public buildings like post offices and courthouses, collaborating with artists who later exhibited at institutions such as the Museum of Modern Art and the Metropolitan Museum of Art. The Federal Theatre Project mounted productions including adaptations of works by William Shakespeare, commissions related to Arthur Miller-era themes, and community plays in cities like Chicago and San Francisco. The Federal Music Project supported orchestras, radio broadcasts, and folk surveys featuring collectors linked with the Library of Congress and folklorists associated with Alan Lomax-style fieldwork. The Federal Writers' Project produced state guidebooks comparable to the later American Guide Series and compiled slave narratives that are now held by the Smithsonian Institution and the Library of Congress. The Historical Records Survey organized archival inventories analogous to projects at the National Archives and Records Administration and supported local preservation in places like New Orleans and Santa Fe.
Administration and Funding
Administration combined federal oversight, congressional appropriation processes in the United States Congress, and local sponsorship from state governors and mayors such as those in New York City and Los Angeles. Funding derived from annual allocations tied to New Deal relief bills debated in sessions alongside initiatives like the Social Security Act and supported by officials in the Treasury Department. Oversight involved interactions with committees in the House Committee on Un-American Activities and scrutiny from journalists at outlets like The New York Times and The Washington Post. Budget disputes engaged economists and advisors in policy circles including the Brookings Institution and the Federal Reserve Board.
Impact and Reception
The project influenced careers of artists who later worked with institutions such as the Guggenheim Museum and the Carnegie Corporation-funded programs, while playwrights and musicians gained recognition through regional theaters and radio networks like NBC and CBS. Reception varied: advocates in cultural organizations like the American Federation of Labor praised employment outcomes, while critics in congressional hearings and conservative outlets including Life (magazine) and The Chicago Tribune accused the project of ideological bias. Political figures such as Senator Robert Taft and commentators from the House Un-American Activities Committee challenged aspects of programming, culminating in high-profile investigations covered by news services like the Associated Press.
Decline and Termination
The program declined amid wartime mobilization following the Attack on Pearl Harbor and shifting federal priorities toward defense contracting and the War Production Board. Congressional funding was curtailed as legislators redirected appropriations to military expenditures and initiatives like the G.I. Bill took precedence. By the early 1940s, pressure from anti-communist campaigns and hearings in the House Committee on Un-American Activities along with administrative reorganizations under the Office of War Information led to cessation of most activities. The remaining archives and art collections were absorbed by institutions including the Smithsonian Institution, state museums, and municipal archives, influencing preservation practices in agencies such as the National Endowment for the Arts and the National Endowment for the Humanities.