Touring the Occupied Lands

Last week a visit to the Occupy DC movement in McPherson Square revealed an impressive level of awareness and a sense of settling in, as many braced for colder weather.
    Then I was in Providence, RI over the weekend for a conference of the Association of American Colleges and Universities (AAC&U), on the role of the arts and humanities in a democracy. The hotel was right across the street from the Occupy Providence forces, where tv crews did standup reports as commuters waited for their buses at the edge of the square. Impressive that some young people handling the protest's media tent could get college credit for their activism. Also impressive how seriously some in colleges and universities are about making education connect with the world in new ways, and with the arts to foster the empathy that many Occupiers yearn for. A good discussion after the screening of Soul of a People.
    Finally, passing back down from New England, I passed the half dozen tents that marked Occupy Poughkeepsie.
    In yesterday’s paper, Thomas Friedman drew the parallels and contrasts between the Occupiers and protesters in India: “Both countries are witnessing grass-roots movements against corruption and excess. The difference is that Indians are protesting what is illegal… And Americans are protesting what is legal – a system of Supreme Court-sanctioned bribery in the form of campaign donations that have enabled the financial-services industry to effectively buy the U.S. Congress… I think that repairing our respective dysfunctional democracies … is for our generation what the independence movement in India and the civil rights movement in America were for our parents’ generation.”

Amid Jobs Talk, Action for Creatives

In a show of innovation and rare unity, nearly a dozen private foundations have partnered with the National Endowment for the Arts to fund local-level arts projects, recognizing the arts are essential for community growth, economic and otherwise.
    Through a program called ArtPlace, a series of grants totaling $11.5 million (plus $12 million in corporate loans) will be distributed to 34 projects around the country.
    "Too many people think of the arts as luxuries," the Ford Foundation's Luis Ubiñas told the New York Times. "The arts are inherently valuable, and they're also part of what's going to get us out of this economic problem we're in."

    Besides Ford, other foundations involved are the Andrew W. Mellon Foundation, the Rockefeller Found-ation, Bloomberg Philanthropies, the James Irvine Found-ation, the John S. and James L. Knight Foundation, the Kresge Foundation, the McKnight Foundation, the Rasmuson Foundation, and the Robina Foundation.
    Federal agencies involved (not as funders) include no-nonsense departments of Housing and Urban Development, Agriculture, Transportation, Education, and Health and Human Services.
    Of course, the grants total equals just two percent of what Ford gave out in grants for 2009. But the program gives a sense of action. In the 1930s only a tiny fraction of WPA and other recovery funds went to the arts.
    The Times article also notes that a second group of grants starts today. Groups have a month to submit applications on the ArtPlace website.

New Deal Arts After the Election

Last month I joined a group at the FDR Memorial Library in Hyde Park, NY, which hosted a discussion of the New Deal’s Enduring Legacy, focused on the arts programs. In the wake of the mid-term election, it was a chance to assess how Americans dealt with unemployment crises and culture. The Poughkeepsie Journal covered it in this article.
    People noted today's parallels with 1938, another mid-term election when Republicans reclaimed seats in Congress, that time a backlash against the New Deal. In the debate leading up to those elections, the WPA projects were a lightning rod.
    In his overview, Nick Taylor, author of American-Made, observed that government support for the arts is always a tough sell to the American public. He noted that federal contracts officers, too, weren’t used to dealing with artists. For instance, why couldn’t WPA artists all use the same type of paint, so they could order by the barrel? Peggy Bulger from the Library of Congress' American Folklife Center added to the picture of how music and folklore got preserved at a critical juncture.

    I made several points about the Writers’ Project and how it helped innovate in the wake of the newspaper closures of the 1930s. College kids with short resumés like Jim Thompson, Margaret Walker and Ralph Ellison got on their feet with WPA writing jobs, plus a firsthand sense of what writers contributed to society. The older jobless got a life raft, short term. My main point, though, was that the arts programs left a long-tailed creative connection to American life for decades afterward. FDR said at the time, "One hundred years from now, my administration will be known for its art, not its relief.”
    Susan Quinn, author of Furious Improvisation, about the WPA Theater Project, told the story of Orson Welles’ time with the WPA and how the play The Cradle Will Rock, staged in Manhattan amid a wave of strikes, brought drama down Broadway as cast, crew and audience all paraded from the theater where they were shut out to another space. The show went on. (See the 1999 film, Cradle Will Rock.)
    Cynthia Koch, director of the FDR Library, discussed the WPA arts legacy in the National Endowment for the Humanities and the National Endowment for the Arts, including NEA battles of the 1980s and the resurgent culture wars now. Good points from the live audience and from others, emailed in. C-SPAN3 will air the Arts & History event December 26 and again January 1 and 2.
    And still we have an unemployment rate hovering above 9%.