Susan Ashmore suggests that in the context of social inclusion, the where is as important as the why and the how.
Every arts professional knows about the importance of space. The Space is where it all happens the performance, the workshop, the reading, the recital. Unfortunately, in social inclusion settings, The Space can often be overlooked in favour of the process. A good space enables and nurtures the artistic process. It helps people to feel comfortable, encourages freedom of expression and is defined as part of the learning contract as a safe place. It can provide a sanctuary from normal existence whatever this may mean to the participants.
In a prison setting, the space will often have a different use, for example a chaplaincy, or the gym. This means that the day-to-day prison regime will be likely to take precedence over the use of the space, and the workshops, rehearsals or performances will be marginalised. My experiences of working in a male prison were based around having to fit into a rigid regime: a sports-orientated agenda and little education. The only art class I could find was actually taking place on the vulnerable prisoner block, which meant that other prisoners had no way of accessing it. Occasionally arts practitioners were brought in but not often enough. The most creative space in the prison was the chaplaincy. A fundamental problem that prohibits artists and organisations who wish to work inside a prison or institutional environment aside from the attitudes and cultures they face that may inhibit their work is the lack of a dedicated arts space.
Peter Brook said, I can take any empty space and call it a bare stage. Judy Garland and Mickey Rooney could put a show on right here in the barn. Its all heartening stuff, but does this attitude enable the most vulnerable and challenging participants to feel able and safe to express themselves? How many of us would have the courage to stand in an empty space and perform? Or in a space that is obviously meant for other purposes?
In 2004, the Anne Peaker Centre for Arts in Criminal Justice commissioned a report entitled A case for space. This report carried with it several recommendations, designed to maximise the effectiveness of the arts in prison establishments. It recommended the development of a dedicated arts space in every prison establishment, which needed to be linked to a sustainable, innovative and on-going arts programme. Dedicated arts spaces should be designed to be as flexible as possible in terms of their potential for a wide range of arts activities; however, they should never be so flexible that they can be commandeered for other purposes!
There are some good examples, such as Wetherby Young Offender Institute and Holloway Prison, which give dedicated space to Dance United. These, however, are few and far between and mainly count on willing staff dedicated to the arts as a vehicle for transformation and change and active and supportive Governors keen to foster a creative environment in their institutions. Currently we have over 100 prisons in the UK; on estimate, most of these have some form of arts activity, although documenting it all is tricky. Should we, then, be asking for dedicated prisons, so that prisoners wishing to practise an artform could be directed to a specific prison? Would this enable the prisons service to offer the appropriate facilities? It is not simply about having the space the work must be supported and consistently carried forward.
For those many excellent organisations already working in prison gyms and shared spaces, I feel that they are succeeding against the odds. They are performing dance, music, drama and visual arts that have to be compromised in order to fit the venue and the space. This, then, would suggest that the audience families and friends who come to behold are being cheated of a more rounded experience. Anecdotally or otherwise, we can all appreciate the benefits of the arts in both social inclusion and health. Why then is this still an issue? Having access to and space to engage with local arts organisations should be seen as a given whichever sector of the community demands it.
Susan Ashmore is Chief Executive of the Anne Peaker Centre for Arts in Criminal Justice. t: 01227 471006;
e: ceo@apcentre.org.uk;
w: http://www.apcentre.org.uk