Episode 85, ACT 2: Pablo Hernandez Basulto-Internal Possibility
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In this episode of Teaching Artistry, host Courtney J. Boddie welcomes Pablo Hernandez Besuto, Director of Civic Artistic Programs at The Public Theater, for a deep conversation on the transformative power of community-centered arts education. Drawing from his work with programs like Public Works, the Mobile Unit, and Public Stories, Pablo challenges dominant narratives around 'good art' and 'professionalism,' arguing that art's true function lies in fostering intimacy, mutual belonging, and civic engagement. He critiques the idea that education is about transferring knowledge from those who 'have' it to those who 'don’t,' instead advocating for reciprocal, relationship-based models rooted in Paulo Freire’s principles. The discussion explores how art can be great not by industry standards, but by its ability to transform lives and connect people across divides—especially in non-traditional spaces like correctional facilities and public housing. Courtney reflects on her own experience at Dorian Fletcher’s jewelry exhibit, where she was moved by the idea that art is not something to be given, but already present in everyday life, especially in communities of color and working-class people. The episode culminates in a powerful vision of theater as a civic space—a 'town square' for 8 million people—where access, equity, and artistic innovation are not ideals but measurable outcomes. Pablo’s core values—access, civic engagement, and artistic innovation—serve as guiding pillars for programs that prioritize relationship-building over performance metrics. Key takeaways include redefining 'professional' to include everyday people, valuing process and product equally, and recognizing that great art can emerge from any context when it’s rooted in community. The conversation underscores that true equity in the arts isn’t about charity, but about co-creation and shared ownership.
Artistic excellence should be measured by transformation and relationship-building, not by industry standards or 'professional' credentials.
True access means forming relationships, not just providing entry—art belongs to everyone and is already present in everyday life.
Education in the arts must be reciprocal: we teach and learn from each other, honoring prior knowledge and lived experience.
Theater’s civic function is to connect people across divides—especially in non-traditional spaces like parks, prisons, and public housing.
Programs like Public Works and Public Stories prove that great art can emerge from community collaboration, not just formal training.
…and 3 more takeaways available in PodZeus
Opening: The Power of Art and Community
Courtney introduces the episode with a personal reflection on visiting Dorian Fletcher’s jewelry exhibit at the Museum of Arts and Design, where she was moved by the intersection of Afrofuturism, storytelling, and everyday artistry. She sets the stage for her conversation with Pablo Hernandez Besuto, emphasizing the theme of art as a shared, relational practice.
Redefining 'Good Art' and the Education Paradigm
“When you arrive and say, hey, everyone, you don't have art. People are like, actually, I'm good. I go to church. I dance in my street. I hum the songs that my grandmother taught me that they used to sing, you know? Actually, I'm filled with it because it's a human thing.”
The Public Theater’s Civic Artistic Programs
“We're trying to expand those who feel a relationship or a sense of belonging to the art form of theater and or the public theater. If someone leaves our class and says, I want to go to the public and I want to go to one of the potlucks... I want to bring my sister, and then I want to bring my mom... That's the depth of relationship that we're trying to, that we are aspiring to.”
Core Values: Access, Civic Engagement, Artistic Innovation
“We're trying to demonstrate that theater can be great outside the bounds of our industry to remind us all, as we've been saying a lot, this is more than an industry.”
The Future of Arts Education: Reciprocity and Relationship
The conversation turns to how arts education must shift from a top-down model to one of mutual exchange. Pablo shares how programs honor prior knowledge, invite people back, and create spaces for intergenerational play. Courtney reflects on the importance of creating spaces for artists to process and connect beyond performance.
“When you arrive and say, hey, everyone, you don't have art. People are like, actually, I'm good. I go to church. I dance in my street. I hum the songs that my grandmother taught me that they used to sing, you know? Actually, I'm filled with it because it's a human thing.”
“We're trying to expand those who feel a relationship or a sense of belonging to the art form of theater and or the public theater. If someone leaves our class and says, I want to go to the public and I want to go to one of the potlucks... I want to bring my sister, and then I want to bring my mom... That's the depth of relationship that we're trying to, that we are aspiring to.”
“We're trying to demonstrate that theater can be great outside the bounds of our industry to remind us all, as we've been saying a lot, this is more than an industry.”
Host
Guest
Pablo Hernandez Besuto
person
The Public Theater
organization
Courtney J. Boddie
person
Public Works
other
Dorian Fletcher
person
Mobile Unit
other
Public Stories
other
Public Works Lab
other
Black Panther
media
Paulo Freire
person
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