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Across the world, performing arts programmes are increasing in number, scope and professionalism. They attract increasing academic and media attention. Theoretical and applied research, organizational evaluation reports, documentary films and journalism are detailing prison arts and creating recognition that this body of work is becoming a valued part of the correctional enterprise. There is a growing body of evidence that suggests music, theatre, poetry and dance can contribute to prisoner wellbeing, management, rehabilitation and reintegration. Performing Arts in Prisons: Creative Perspectives explores prison arts in Australia, the United States, the United Kingdom and Chile, and creates a new framework for understanding its practices.
'Performing Arts in Prisons: Creative Perspectives is a relevant and important piece of literature that highlights the value of performing arts programming in correctional facilities internationally... While this text focuses on performing arts programming rather than creative arts therapy approaches, drama therapists who work with incarcerated individuals could find commonality and inspiration in it. This would particularly be true for clinicians whose jobs are within punitive oppressive systems where their work may not be fully supported. By reading this book, drama therapists might gain increased spontaneity to one’s interventions and framework to benefit relationships, outcomes and research with this population and the personnel.
This book can also serve as a crucial piece of literature for drama therapists who work outside of correctional facilities and organizations serving those impacted by incarceration. The modality of drama therapy is utilized to service many underserved and marginalized populations, many of whom have been impacted directly or indirectly by the effects of incarceration. Also, similar to the prison industrial complex exists the mental health industrial complex in which psychiatric institutions, service providers and treatment are rooted in carceral politics, lacking decolonized practices. Readers of the book would gain insight into how our artistic practice as drama therapists can offer culturally congruent care and how to creatively enhance our advocacy of those we serve.'
— Mary Morris, Drama Therapy Review
Professor Michael Balfour is Professor of Theatre and Performance at the University of New South Wales, Sydney.
Brydie-Leigh Bartleet is Director of the Queensland Conservatorium Research Centre.
Linda Davey is a psychologist, theatre-maker, arts educator and academic, and was Research Fellow with the Captive Audiences project based at Griffith University.
John Rynne is Associate Professor in the School of Criminology and Criminal Justice at Griffith University.
Huib Schippers is Affiliate Professor of music education at the University of Washington School of Music.
Notes on Contributors
Preface
Introduction: Performing arts in prisons - creative perspectives
Micheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib Schippers
Chapter 1: A correctional perspective on the creative arts in prisons
Andrew Day
Chapter 2: Geese Theatre Company - 30 years on
Louise Heywood, Andy Watson MBE and Michael Balfour
Chapter 3: One Mob Different Country: First Peoples of Australia dance in Darwin Prison
John Rynne, Dennis Lew Fatt and Brett Schroder
Chapter 4: 'This place is full of drama queens': Reflecting on the value of drama in a women's prison
Sarah Woodland
Chapter 5: Through the looking glass: A voice from the inside
Anya (pseudonym)
Chapter 6: Breaking the fifth wall: How performance might assist desistance from crime
Linda Davey
Chapter 7: Drumming interventions in Australian prisons: Insights from the Rhythm2Recovery model
Simon Faulkner and Brydie-Leigh Bartleet
Chapter 8: Arts in Corrections New Zealand
Jacqui Moyes
Chapter 9: The play's the thing: Performance in Prison Shakespeare
Rob Pensalfini
Chapter 10: 'Heart and heartbeat': Working beyond prison theatre, performing protagonismo social in the real world
Penelope Glass
Chapter 11: 'Strategies for success': Trusting the power of the arts
Maud Clarke
Chapter 12: Performing arts activities with hopes to build positive self-identity, heal harms and broaden the US public's perceptions of people inside prisons
Mary L. Cohen
Chapter 13: Unlocked: Prison poetry workshops as a key to engaging inmates
Johanna Featherstone and Huib Schippers
Chapter 14: 'Music is the colour of my skin': The story of the Murru Band
Dudley Billing and Dave Palmer
Concluding Reflections
Micheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib Schippers
Index