In the Harvard lectures that became Art as Experience (1934) Dewey developed a democratic account of art that not only expanded the range of creative experience (watching a huge digger, the architectonics of a mutually satisfactory conversation, are included in the reach of art) but developed an account of art that was vitally reciprocal, participatory and social. Maker and perceiver are equally interactive creators as they mutually develop new modes of feeling and thinking. For Dewey this relationship necessarily re-makes the experience of community and, just as important, creates a civic space for interrogation and critique. (This article is published in the thematic collection ‘The arts and humanities: rethinking value for today—views from Fellows of the British Academy’, edited by Isobel Armstrong.)

This contribution is a record—apparently—of a presentation about the function and effects of dramatic performance within communities. It lurched from the Covid pandemic and the British government’s ‘levelling-up’ project back, over a century earlier, to the beginnings of the municipal and amateur theatre movements. These latter produced some of the earliest formulations of the idea that participation in performance-making enables self-expression and a sense of fellowship, thus building community. But, as Granville Barker, one of its greatest proponents, warned, this same activity, where it’s not rooted in the ‘hearts’ of people is merely a professional product, not ‘vital’. Which produces a dilemma for an author asked to take a live event, shared among participants, and substitute for it a journal article, civic, perhaps, but not necessarily vital. (This article is published in the thematic collection `The arts and humanities: rethinking value for today—views from Fellows of the British Academy’, edited by Isobel Armstrong.)