| Comprehensive Employment and Training Act (CETA) | |
|---|---|
| U.S. Congress | |
| Citation | Pub. L. 93-203 Comprehensive Employment and Training Act of 1973 |
| Territorial extent | United States |
| Enacted by | U.S. Congress |
| Enacted | December 28, 1973 |
| Signed by | Richard Nixon |
| Signed | December 28, 1973 |
| Legislative history | |
| Bill title | S. 1559, Comprehensive Employment and Training Act of 1973 |
| Bill citation | Pub. L. 93-203 Comprehensive Employment and Training Act of 1973 |
| Introduced by | Gaylord Nelson (D–WI) |
| Repealed by | |
| Ronald Reagan in March 1984 | |
| Related legislation | |
| Job Training Partnership Act of 1982 | |
| Keywords | |
| artist relief, art jobs program, federal artist employment, public art | |
| Status:Repealed | |
TheComprehensive Employment and Training Act (CETA,Pub. L. 93–203) was aUnited States federal law enacted by theCongress, and signed into law by PresidentRichard Nixon on December 28, 1973[1] to train workers and provide them with jobs in the public service.[2] The bill was introduced as S. 1559, the Comprehensive Employment and Training Act of 1973,[3] by Democratic SenatorGaylord Nelson of Wisconsin.
The program offered work to those with low incomes and the long term unemployed as well as summer jobs to low income high school students. Full-time jobs were provided for a period of 12 to 24 months in public agencies or private not for profit organizations. The intent was to impart a marketable skill that would allow participants to move to an unsubsidized job. It was an extension of theWorks Progress Administration (WPA) program from the 1930s.[2]
Inspired by the WPA's employment of artists in the service to the community in the 1930s, theSan Francisco Arts Commission initiated the CETA/Neighborhood Arts Program in the 1970s, which employed painters, muralists, musicians, performing artists, poets and gardeners to work in schools, community centers, prisons and wherever their skills and services were of value to the community.[4] The idea for CETA/Neighborhood Arts Program came from John Kreidler, then working with the Arts Commission as an intern, with the Arts Commission's Neighborhood Arts Program under the direction of Stephen Goldstine.[5][6] The program was so successful in San Francisco that itbecame a model for similar programs, nationally. TheCETA Artists Project in New York City was one of the largest.[2]
Nine years later, CETA was replaced by theJob Training Partnership Act.[7][8]
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