In response to some of the criticisms of previous research into the arts in criminal justice, this article presents findings from research with a music programme run by a Youth Offending team (YOT). Data were collected on the attendance of 42 participants at YOT appointments – matched against a comparison group – and measures of change over time in musical development, attitudes and behaviour and well-being. Participants who completed the music programme were statistically more likely to attend YOT appointments than a comparison group. There were statistically significant improvements in participants’ self-reported well-being and musical ability over the course of the project. Effect sizes reached the minimum important difference for quantitative measures. To understand not just if, but how, any impact was achieved, and to ensure the voice of the young people was heard, the quantitative elements of the research were complemented and extended by in-depth interviews with 23 participants.

The penal voluntary sector is highly variegated in its roles, practices and functions, though research to date has largely excluded the experiences of frontline practitioners. We argue that engaging with the narratives of practitioners can provide fuller appreciation of the potential of the sector's work. Though life story and narrative have been recognised as important in offender desistance (Maruna 2001), the narrative identities of creative arts practitioners, who are important 'change agents' (Albertson 2015), are typically absent. This is despite evidence to suggest that a practitioner's life history can be a significant and positive influence in the rehabilitation of offenders (Harris 2017). Using narratological analysis (Bal 2009), this study examined the narratives of 19 creative practitioners in prisons in England and Wales. Of particular interest were the formative experiences of arts practitioners in their journey to prison work. The findings suggest that arts practitioners identify with an 'outsider' status and may be motivated by an ethic of mutual aid. In the current climate of third sector involvement in the delivery of criminal justice interventions, such a capacity may be both a strength and a weakness for arts organisations working in this field.

The Routledge Companion to Rehabilitative Work in Criminal Justice Arts-based interventions in the justice system, Laura Caulfield & Ella SimpsonArts-based interventions have a long and complex history of work within the justice system. From fine art, to drama, creative writing and poetry, dance, to music -the Art forms are many and varied, as are the areas of the justice system that have incorporated the Arts into their work. This chapter: outlines the range of Arts-based interventions in the UK justice system, including case studies provides an overview of the varied and challenging history of Arts-based interventions in the justice system  discusses the role and impact of the Arts in the justice system, and highlights questions that exist concerning the evidence for the use of Arts-based interventions in the justice system The range of Arts-based interventions in the justice systemThere is a diversity of arts provision in the criminal justice system, and creative practitioners come to this work from an equally varied range of backgrounds and training. From creative writing, drama and theatre, art, music, dance, the list goes on. Arts provision in the justice system takes many forms, and indeed providers often work in a number of different ways. For example, it is not unusual to see an arts organisation that works in prisons, in the community, with young people, and adults.Likewise, the type of programme any one organisation might run can vary according to the population they are working with and their focus at the time. We provide some examples later in this section.There is no single agenda or ethical agreement concerning the purpose of arts in prisons (Thompson, 2003: 45). This is clearly indicated by the multiple delivery points of arts in prisons, through education departments (Peaker and Vincent, 1990), through therapeutically based interventions grounded in the disciplines of forensic psychology, psychoanalysis and community psychiatry (Laing, 1984; Gussack, 2009;Cox & Gelsthorpe, 2012), and through the work of independent creative practitioners (Peaker & Vincent, 1990), some emerging from the radical activism of the 1970s (Johnston, 2004: 95), others embodying a conventional artistic training based around notions of fine arts and conservatoire education (Thompson, 2003: 46-47). Indeed, many creative practitioners have adapted their practices to the requirements of the professions of teaching or art therapy in order to combine their interests in art and work with prisoners. The introduction of an advocacy agenda in arts in criminal justice (Belfiore and Bennett, 2008), has seen practitioners shape their discourses, though not necessarily their practices, to policy requirements (e.g. Mer, 2012).There are too many individuals and organisations working in this area to highlight in this chapter, so below we list a cross-section of organisations and the type of work they undertake: Organisation Art form Settings/groups