The Most Receptive Arts Audience May Be Behind Bars

Over the last few days you may have read about how the inmates at New York’s Eastern Correctional Facility beat Harvard University’s top ranked debate team.

It caught my attention because that is the prison in which I learned to play chess.

 

 

Yeah, I let that hang there a minute, but it is absolutely true that when I was around 9 or 10 years old, an inmate named Fat Cal with three life sentences for murder taught me to play chess. My parents took us to visit prisoners from the time I was 8 until the time I was about 17. Later, my mother ended up teaching in prisons.

To be honest, my siblings and I thought it was pretty boring because there wasn’t a lot for us to do while our parents talked to the inmates. I can’t say the experience made a deep enough impression on us to keep us out of trouble, but it did prepare us for the hassle of current airport security.

I have written about arts in prisons before. In fact, my last post involved the guard union at Eastern Correctional Facility blocking a theater performance at their prison.

After reading the recent articles about how successful the prison debate team was, it occurred to me that prisons are a good venue for arts organizations that seek to make an impact in a receptive community. As the Wall Street Journal article notes, inmates live a life where few distractions are permitted. As a result, they invest a lot of focus in whatever interests them.

In my previous entry, there were people quoted as saying the inmates should be focusing on developing trade and technical skills which will serve them upon their release. However, a Salon piece discussing the success of the inmate’s debate team notes,

In an oddly backhanded way, the success of these programs reveals the importance of the humanities—those “useless” subjects such as literature, philosophy, and history–which educate the whole person instead of training a worker. For some inmates, Sax writes, their situation may compel them “to think about things more intensely than most people. A crisis like going to prison can move people to question everything in their lives.” As for providing a liberal arts education to inmates, he posits the question: “Are we doing it for the prisoners or for society? Both, but helping the prisoners is a more tangible and immediate goal.”

As for the value of this type of education, the Salon article also notes that the in Bard College program which coached and developed the inmate debate team,

Out of 300 men who graduated from Bard’s program, fewer than 2 percent returned to custody within three years; and Hudson Link’s rates are at 3 percent. Without education, 40 percent of prisoners end up incarcerated again.

Similar statistics are also cited in a Daily Kos piece on the story.

What is really interesting to me is that both time and education were cited as key factors in arts participation by the study I cited in Monday’s entry. The researchers in that study hypothesized that highly educated people who were not highly wealthy had higher rates of participation because they had the time to do so, much as the inmates’ success is partially attributed to having the time to devote an undivided focus on their arguments.

As a couple of the articles point out, despite lack of wealth remaining a factor for most inmates upon release, an earned education appears to be diminishing recidivism. Even though there is a lot of debate about the costs and value of higher education, providing a good education appears to contribute to the general good of society.

It isn’t really appropriate to make facile conclusions about the contributions liberal arts can make to criminal reformation, but clearly it can have an important impact. Nor do I want to make statements about education, rather than wealth or a lack thereof, being a key factor in deterring crime. It is pretty clear wealth and class strongly influence whether you will be incarcerated.

Efforts at introducing arts and education to at-risk communities can certainly also assist in preventing people from ending up in prison. Unfortunately, there are myriad environmental factors which may distract people from achieving the necessary focus that is subsequently forced upon them in prison.

For those who long to make an impact in their community and society, it may be worth considering how well working with inmates might help you achieve your goals.

I am sure there is a lesson in all this about how excellence requires more time and focus than we allow ourselves.

What Value The Arts In Prison?

I was surprised to see my home town newspaper mentioned on the Americans for the Arts blog recently. Americans for the Arts’ Arts Education Manager, John Abodeely, was responding to a story about how inmates from the Woodbourne Correctional Facility were being blocked from performing at Eastern Correctional Facility by the corrections guard union. (Eastern Correctional Facility apparently inspires a lot of art. I once wrote a short story based *cough* on my time spent there.)

Abodeely responds to the union’s central argument that there is no value in the experience. “How many of these medium-security convicts do you think will go to Broadway and get a job?” One answer is Miguel Pinero’s Short Eyes–six Tony nominations, New York Drama Critics Circle Award and an Obie Award. Another is Charles Dutton. These are just off the top of my head. I am sure there are other examples.

Abodeely discusses the economic value of the arts in terms of jobs, revenue and taxes generated. I think Abodeely misses the mark on two counts. First, regardless of the economic impact statistics, it is difficult for people with arts backgrounds to gain employment in their field, whether it be on Broadway or not. An ex-con probably has just as good a chance of being employed as anyone. (So on second thought, I guess Abodeely’s numbers are valid when applied to the convicts.)

But the second point is the real issue. The subtext of the question the corrections officer posed was all about low regard for the convicts’ personal value and had little to do with economics at all. Perhaps it is clearer to me because I have been in NY prisons, but the guards’ power to deny positive experiences for inmates is a big factor here. Given the union spokesman’s assertion that “prison farms, annexes and print shops have been useful because they teach skills that can be applied toward a job on the outside,” a more compelling argument would be based on evidence of how engaging in any sort of disciplined program is beneficial to future employment and behavior in the present. There is also public speaking skills, writing skills (since the inmates wrote the play) and development of empathy that can be gained. (Construction and other organizational skills if they are building sets and costumes.)

Abodeely wouldn’t likely have the research or numbers on hand to cite, but there may be some evidence that it reduces recidivism, especially given that is the sponsoring organization, Rehabilitation Through the Arts, goal. The San Quentin Drama Workshop has been active since 1958 so even if there is no clear evidence arts in prison does not reduce recidivism, there must be some value to sustaining the program for 51 years. There is also group, Theatre in Prisons which runs similar programs internationally.

What really makes me believe that the union’s objections on the grounds theatre involvement doesn’t cultivate valuable skills is the fact that Rehabilitation Through the Arts not only does shows at the maximum security NY State run prison, Sing-Sing, but has been based out of there since 1996 and apparently has proven valuable enough to satisfy the corrections officers who I am pretty sure belong to the same union. Pinero wrote Short Eyes while incarcerated in Sing-Sing in 1972 and there was apparently a drama program of some sort there at the time.

Don’t get me wrong. I am not really a big advocate for convict rights. I didn’t particularly enjoy being dragged on visits as part of my mother’s effort to redeem these guys. (Though I does allow me to truthfully say I was in and out of prison for 9 years.) Like most of us, I am not about to allow someone to dismiss the value of participation in the arts out of hand without some rebuttal.

I suppose no discussion of performing arts in prison can be complete without citing the 1500 Filipino prisoners in Cebu doing Michael Jackson’s Thriller.