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Jacob Foster
Jacob Foster

Essay About Regional Organization



Following World War II, who would expect historic rivals to build an international organization that would one-day acquire quasi-sovereign status? Today it may seem that sustainable regional commitments in Latin America or East Asia are unlikely.




essay about regional organization



Rather than trying to redesign and rebuild the mechanisms of global economic coordination, those gathering in the alpine village would do better to spend more time thinking of new ways to deepen regional commitments. The lack in confidence in global institutions should not be cause for pessimism toward international cooperation. On the contrary, regional organizations may be the best-suited mechanisms to govern the global economy in the 21st century.


ANCSA language stated that Alaska Native regional and village corporations would be conveyed a total of nearly 44 million acres of land in Alaska, about ten percent of the state. However, there were large tracts of land across all twelve regions that the federal government had already claimed for strategic purposes or conveyed to other entities. Because those lands were not eligible for selection by Alaska Native corporations, the corporations were compensated $962.5 million for lost lands.


February 1, 2022 marked the one-year anniversary of the Myanmar coup, which saw the military violently wresting power from the civilian government and initiating a crackdown that has since expunged more than fifteen-hundred lives.[1] Against such flagrant disregard for human rights, we might expect the regional organization, the Association for Southeast Asian Nations (ASEAN), to have reacted strongly, but ASEAN has only oscillated between accommodation and soft critique, without committing significant resources to alleviating the humanitarian crisis.[2]


At the regional level, the process is repeated. The regional chair arranges for all of the essays referred from local chapters to be judged a second time. Regional judges rank the local winners and nominate the best essays for regional and national awards. These essays are then forwarded to the National Scholarship Chairs.


MFA is a regional network of non-government organizations (NGOs), associations and trade unions of migrant workers, and individual advocates in Asia who are committed to protect and promote the rights and welfare of migrant workers.


Successful essays will identify, in no more than 1,250 words, a situation where diplomats worked on a peacebuilding initiative with partners from the country/region in question, nongovernmental organizations, and other parts of the U.S. government, and then go on to analyze what characteristics and approaches made the enterprise a success.


The following table outlines the principal definitional approaches of those regional organizations examined in Module 5. None are suggested to represent a universally agreed definition of terrorism within the United Nations system.


Turning to the OAU to begin with, foreign interventions/colonialism by Western powers and the height of the Cold War produced rigid alignment blocs within Africa. The OAU did not seek to tackle this problem but instead built itself on the Casablanca/Monrovia conflict. Unsurprisingly, this affirmed divisions between states and resulted in an ineffective organization that found it impossible to agree on a direction to take. The African Union has made the same mistake. Being an organization based on combatting widespread poverty in Africa, for example, has mistakenly been combined with structures that rely on funding by Member states who have little money themselves. Thus, the AU lacks the funding to effectively institutionalize regional integration and developmental missions[18].


ASEAN is not a supranational organization but rather a regional association. The member states remain as the reference point of a regional organization that aspires to be both a political and economic community. ASEAN, as a bloc, does not have a common foreign policy but strives to achieve a common position in issues that affect the region.


As the project got under way, FERA projects in New York City, California, Boston, and Chicago continued. Where existing dramatic organizations functioned, supplementary units of people from relief rolls used the facilities of the directing organization. Where regional and folk drama had been developed, the institutions continued their productions and were instructed to make use of Federal Theatre units. Where no organizations existed, independent companies had to be organized with a view to eventual integration with community life. Marionette units were organized, separately, as a supplement to existing organizations, or in connection with new companies. Children's theater companies were strongly recommended. Vaudeville, variety, and circus units were encouraged, and dance and acting classes were to be part of every unit where they could be justified.


At this time, Mrs. Flanagan also cleared up the confusion about the definition of "professional" that established permanently the character of the project. Only those who could show evidence of theatrical employment in the past were to be hired, men and women who were members of theatrical unions: Actors' Equity, American Federation of Actors for Vaudeville and Variety, and Interalliance of Theatrical Stage Employees. In spite of this concession to the professional actors, friends of the independent theater throughout the country still supported the project and applauded the regional organization which divided the country into thirteen areas.20


Under pressure to employ as many people as possible in the next few months, Mrs. Flanagan was incensed by the lack of cooperation among WPA state and regional officers. In spite of Hopkins's insistence that WPA officials cooperate with the Arts Project representatives, men like E. C. Mabie and Jasper Deeter trying to assemble staffs encountered ignorance and intransigence when they made their "courtesy calls" on state administrators. Equally difficult was locating prospective Federal Theatre employees. The "grapevine telegraph" or a notice on a bulletin board was more effective than state relief organizations, which often refused reclassification to those on relief rolls or even refused to survey the rolls had not indicated that they were members of the theatrical profession when they signed up, and many were not on the relief rolls under any category, preferring odd jobs to charity. The problem of certification was further complicated by the fact that in the early days of the depression theatrical unions had dissuaded, even forbidden, their members to enroll for relief.


Hallie Flanagan continued to put into effect the hard-won lessons of that first year. In a meeting in Birmingham of leaders from the South she suggested simultaneous productions of plays about contemporary problems, antiwar plays, "living newspapers" on regional themes, children's plays, and plays on religion. Entertaining as well as socially important plays were also to be considered and made a regular part of Federal Theatre offerings. The Birmingham meeting served still another purpose, for at the same meeting John Temple Graves, lawyer and newspaperman on the Birmingham Age Herald, called for a play on steel, since steel and cotton were dictating the new political economy of the South. The Federal Theatre readily complied the next year by producing Altars of Steel by Thomas Hall-Rogers, a Birmingham author. Produced in Atlanta, the play stressed the need for economic freedom in the South and the development of its great resources. Praised and blamed, the play and the furor it created made it clear, not only in the South but across the country, that playwrights and audiences were keenly interested in plays with social and economic themes, whatever commercial producers in the thirties, as well as in the past, had concluded about the theatrical appetites of American audiences. Sixty thousand people in New York bought tickets for Power, a living newspaper on the TVA, before it opened. But Power and Sweet Land, produced at the Lafayette, were still the only social plays of the early 1937 season.


By September of 1937 a badly battered and bruised Federal Theatre began its third season. John McGee's southern region had producing centers left in only three states. In the Midwest only the Chicago project, a children's theater in Gary, and small production units in Detroit, Des Moines, Cleveland, Cincinnati, Springfield, and Peoria had survived. In the East, units in Rhode Island and Delaware closed down, and cuts in both Los Angeles and New York meant fewer productions during the new season. Mrs. Flanagan took immediate steps to try to repair the damage. Nationwide cycles of plays by Shaw and O'Neill were a must if the Federal Theatre was to remain a regional theater. New plays like Prologue to Glory, a play about the young Lincoln and Created Equal, Boston's historical pageant, were to explore the American scene. Living newspapers would continue to focus on contemporary problems. New York City, New Orleans, and Cincinnati would have their own versions of One-Third of a Nation, a play about housing conditions; "Oregon's flax growers would see Flax; Denver would have a living newspaper on sugar, and Iowa one on corn. At Christmas each project would combine both classical and religious drama with medieval shepherd plays."32 Circuses, ballets, musical comedies were to have their place this season, too.


The creation of the National Service Bureau in the fall of 1937, which merged the Play Bureau and the Play Policy Board, proved a boon to many of the smaller projects. The bureau read, wrote, re-wrote, and translated plays and sent synopses, scripts, and bibliographies to the field. Through loans of talent and equipment, it was able to strengthen local units on a much expanded scale. The growing success of this umbrella organization made clear the necessity of careful coordination in a national theatrical organization which hoped to create flourishing regional units. 350c69d7ab


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