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By Marcello Mustè

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The defi nition stated, “It [community arts] sought to empower individuals and communities to participate more effectively in running their own lives” (p. 85). Among the debates surrounding the defi nition of community arts was an attempt to disentangle the term from amateur arts. The Arts and Communities report suggested that the simplest defi nition of amateur arts was “all Arts activity which is self-motivated and unpaid”19 (Brinson, 1992 , p. 88). Anthony Everitt (1997) was later to use these fi ndings to affi rm that community-orientated arts are arts with additional social purpose.

After the long period of boom in Britain during the 1950s, a prosperous capitalist economy governed by the Conservative Party began to show frailty. For the fi rst time since the general election of 1959, the Labour Party began to move ahead in the polls, and the Conservatives’ close association with national greatness, the Church, the Queen, and the Empire, began to look outdated. In the general election of 1964, Harold Wilson’s Labour Party narrowly defeated the Tory Party and took office for the following six years.

Here, as a retort to capitalism community, artists found solace in social affi rmations, including the Marxist position that saw the opposition between the individual and society as false. Alliance to Marxist thought appeared snug for a time, but in a changing world the Marxist perspective had fallen under theoretical and pragmatic strain. As a “development” of Marxist thinking, an alternative group calling themselves the New Left had formed. They believed that the forces of capitalism had triumphed over those of the traditional left (Long, 1969; Teodori, 1969; Friedman, 1972; Vickers, 1975; Isserman, 1987; Katsiaficas, 1987; Archer, 1989; Levy, 1994; Gann and Duignan, 1995; Mattson, 2002; Gosse, 2005).

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Croce by Marcello Mustè

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