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Although the nations of Latin America had won their political independence during the nineteenth century, they continued to remain subordinate to external economic forces. The reason lay in their adherence to the model of economic development that had begun during the colonial era and which concentrated on the production and export to Europe and North America of large quantities of staple commodities, such as sugar, tobacco, coffee, cotton, grain, wool, meat, fruit, copper, tin, and silver. While the policy of export-led growth could claim considerable success and justification so long as international commerce flourished and the world economy enjoyed prosperity, its inherent defects were displayed at times of adverse economic developments. This was especially the case for Latin America whenever trade and inward investment were affected with the leading economic powers of Great Britain, France, Germany, and the United States. Consequently, the worst international economic crisis of the twentieth century, which began with the stock market crash on Wall Street in October 1929 and subsequently developed into the Great Depression, was extremely damaging to the economies of all the Latin American countries.

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The 1930s were a period of intense artistic experimentation, as new forms and methods were explored, transformative cultural institutions were founded, and artists self-consciously sought to reach broader layers of the public. The rise of social unrest during the Depression heightened the political concerns of artistic works, while New Deal programs gave artists both federal recognition and the funding and space to work out new cultural forms. Technical changes, like the popularization of the radio, changed how accessible culture was and to whom, and an international break from formalism and modernism also worked to produce a popularized, socially conscious tendency in American art. During the Depression decade, Washington State, often seen as marginal to national art history, hosted some of the most innovative theatre, musical, and performing arts work in the nation, with sometimes global views. It is one of the ironies of the Great Depression that the emblematic cultural institution of Washington State, the Seattle Art Museum, was created and privately funded during the darkest days of the economic crisis, when tens of thousands were losing jobs and homes. SAM was a gift to the city from art collector Richard Fuller and his wealthy mother Margaret Fuller. In 1931, they hired UW architect Richard Gould to design a museum sited in Volunteer Park and pledged much of their personal art collection to the city. The building, which now houses the Seattle Asian Art Museum, opened to the public in 1933.

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Impact of GD on African Americans and Women

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Impact of GD on African Americans and Women

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The Great Depression of the 1930s worsened the already bleak economic situation of African Americans. They were the first to be laid off from their jobs, and they suffered from an unemployment rates two to three times that of whites. In early public assistance programs African Americans often received substantially less aid than whites, and some charitable organizations even excluded blacks from their soup kitchens. African Americans benefited greatly from New Deal programs, though discrimination by local administrators was common. Low-cost public housing was made available to black families. The National Youth Administration and the civilian conservation corps enabled African American youths to continue their education. The works progress administration gave jobs to many African Americans, and its Federal Writers Project supported the work of many black authors

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Political and Economic Causes of the GD in the US

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Political and Economic Causes of the GD in the US

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Aside from the Civil War, the Great Depression was the gravest crisis in American history. Just as in the Civil War, the United States appeared at least at the start of the 1930s to be falling apart. But for all the turbulence and the panic, the ultimate effects of the Great Depression were less revolutionary than reassuring.

This was undeniably an era of extraordinary political innovations, much of it expressed in the reforms enacted by FDR in the New Deal and his administration’s attempts to cope with the problems of poverty, unemployment, and the disintegration of the American economy. It was also a time when a significant number of Americans flirted with Marxist movements and ideas, as well as with the notion that the model for a more humane society could be found in the USSR. Above all, it was a decade of cultural ferment, in which American writers, artists, and experimented with new, more socially oriented forms of literature, painting, theatre, music, and mass entertainment.

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After the Stock Market Crash of October 1929 and the worldwide collapse of economic prosperity, Americans were eager for solutions and political change. African-Americans in the North found themselves allying with other reformist groups and ethnic voting blocs in supporting the Democratic Party and its presidential candidate, Franklin Delano Roosevelt, in the election of 1932. Roosevelt won with the electoral power of this “New Deal Coalition,” and once in office began organizing a rapid and fundamental series of changes to the Federal government and its role in economic and social affairs.

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The worldwide Great Depression of the early 1930s was a social and economic shock that left millions of Canadians unemployed, hungry and often homeless. Few countries were affected as severely as Canada during what became known as the Dirty Thirties, due to Canada’s heavy dependence on raw material and farm exports, combined with a crippling Prairies drought. Widespread losses of jobs and savings ultimately transformed the country by triggering the birth of social welfare, a variety of populist political movements, and a more activist role for government in the economy.