New Deal Dbq

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The extent of the New Deal’s achievement in elevating the lives of African Americans has been the subject of debate for many historians, such as Nancy Weiss and Harvard Sitkoff. Opposed to the traditionalist view of John Salmond and Raymond Wolters, who offered a dim view in emphasising its many shortcomings, they sought, alongside historians Patricia Sullivan and Kevin J. McMahon, to promote a more optimistic perspective, portraying the New Deal as part of a ‘long’ Civil Rights Movement. However, they differed in their approach rather notably. Sitkoff, building upon the argument of his mentor William Leuchtenburg, saw the New Deal to be “a turning point in race relations” that allowed for “sprouts of hope” amongst African Americans, but also …show more content…

Refuting any indication of there being a “turning point” in arguing that African Americans were not lured by symbolism nor by an apparent positive record on civil rights; she advances the case that the African Americans change of allegiance to the Democratic Party, the primary evidence used to illustrate the former’s stance, was rooted in the economic improvements afforded by the New Deal. A thematic approach should be adopted to determine whether the New Deal era achieved more for African Americans than at any other period, judging by whether there were more positive gains made during the New Deal era in a particular area. Sensitivity to the context is required as the situation is constantly evolving, so the extent of the achievement is assessed with regards to the departure from the status quo. The areas explored in this essay are cultural impact, social gestures, economic conditions, political participation, education and legal precedents. Multiple challenges arise from this thesis, including the breadth of what can be considered as federal intervention. It will be defined as actions carried out by the three branches of the federal …show more content…

In keeping with Sitkoff’s argument, Rebecca Sklaroff presents the establishment of the Federal Arts Project (FAP) in August 1935 as a signal of “cultural emancipation”; African Americans were exposed to cultural forms previously inaccessible to them. Employment in the Federal Theatre Project (FTP), a subsidiary branch, enabled African Americans to apply their trades creatively, such as in set building, and find a vocation suited to them – according to Clarence Muse, director of LA Negro Unit, 40% of the 165 black individuals involved in his production Run Little Chillen continued in the industry. Such projects were also a source of uplift for black society as a whole, in its promotion of progressive representations of African Americans. Minstrel images, the dominant representation of African Americans prior to and during the era, were subverted. The 1938 musical production Swing Mikado, conveyed the character of Nanki-Poo as an embodiment of pure love as opposed to the usual characterisation of lust and infidelity. Moreover, African Americans were given federal sanction to represent themselves for the first time. The appointment of the African American, Sterling Brown, as editor of Negro Affairs in the Federal Writers Project endorsed this idea symbolically in making the notion of a black man presiding over his own history commonplace, as well as

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