This dissertation focuses on a quasi-governmental committee formed in November, 1932 during the interim Mexican presidency of Abelardo L. Rodríguez. “El Comité Nacional de Repatriación” (The National Repatriation Committee) brought together Mexican businessmen, politicians, social-aid administrators and government officials to deal with the U.S. repatriations of “ethnic Mexicans” (Mexican nationals and Mexican Americans). The Comité attempted to raise half a million pesos (“La Campaña de Medio Millón”) for the repatriates to cultivate Mexico’s hinterlands in agricultural communities (“colonias”). However, the Comité’s promised delivery of farm equipment, tools, livestock and guaranteed wages came too slowly for the still destitute and starving repatriados who sometimes reacted with threats of violence against local and state officials. Cloaked in political rhetoric, the Comité failed to meet the expectations of the repatriate population and the Mexican public. The ambitious plans of the Comité became mired in confusion and scandal. Finally, bowing to pressure from Mexican labor unions and the Mexican press, President Rodríguez dissolved the Comité on June 14, 1934.



In addition, this work addresses Mexican immigration settlement through the early 1930s, Mexican immigration theory, the administration of President Herbert Hoover and the conational exodus. The hardships faced by the repatriates are covered as well as unemployment issues, nativism, and U.S. immigration policies through the early years of the Great Depression. The conclusions reached confirm that the general Mexican public welcomed the Campaña de Medio Millón and the work initiated by the National Repatriation Committee. However, the negative publicity regarding the failure of the two principal resettlement colonies in Oaxaca and Guerrero convinced President Rodríguez to disband both the Comité and the Campaña de Medio Millón.

The Nash, a jazz venue in Phoenix, Arizona, is an example of a decades-long process of the formalization of jazz—being codified as an art music relying on academic and philanthropic support. Formalization developed as jazz began to be taken seriously as art music worth of critical evaluation from critics, academics, and the hallowed establishments of American high art. Jazz became increasingly dependent on an infrastructure of institutional support, and a neoclassical ideology sought to define what styles of jazz were ‘real’ and worthy of preservation. In Phoenix, the origins of The Nash were laid in 1977 when Jazz in Arizona was formed, a non-profit organization that aimed to support jazz through information dissemination, music scholarships, festival organizing, and attending jazz events throughout Arizona. The Nash was conceived as a way to more fully engage young people in the community. Herb Ely, a prominent Phoenix attorney and philanthropist, pitched the idea to Joel Goldenthal, then Executive Director of Jazz in Arizona. The venue was built under the auspices of Jazz in Arizona, and operates as the organization’s headquarters. In keeping with the broader trend of formalization, The Nash presents jazz as a performance of artistic expression. Continued philanthropic support allows The Nash a degree of independence from economic concerns. The Nash is also committed to providing support for jazz education, by partnering with local educational institutions and presenting educational programming. The focus on providing opportunities for young musicians, as well as its location in the hip neighborhood of Roosevelt Row have contributed to The Nash becoming relatively popular among young people. However, the formalized approach to jazz espoused by The Nash has created some conflicts within the Phoenix jazz community, as some professional musicians feel that The Nash is underpaying musicians for their labor. The American Federation of Musicians Local 586 argues that musicians are workers, and The Nash ought to be paying union scale.