Arts-based interventions in the justice system

Abstract

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

Exploring the impact of music on children at risk of contact with the criminal justice system

“…There is a substantial evidence base around the impact of the arts in criminal justice and growing acknowledgement from policymakers of the value of the arts (Caulfield, 2021, for an overview). As Caulfield et al (2021, p. 6) note, "a move towards engagement through the arts in youth justice, fits within a contemporary 'Child First' approach in youth justice by developing services that are legitimate and authentic to children".…”

“I’ll live better, stay away from crime”: exploring the reintegration of former prisoners into the community through a music programme

“…This article presents findings from research with a music programme that works with people as they leave prison and re-enter the community. There is a substantial evidence base concerning the impact of creative arts programmes in criminal justice (Caulfield, 2021, for an overview), and in particular music, but limited research on the impact of music programmes as people make the transition from prison to the community. The research presented here builds upon the very limited evidence base, seeking to understand the impact of the programme from the perspective of participants, staff and family members through qualitative interviews.…”