Inbunden, Engelska, 2019

Performing Arts in Prisons

Creative Perspectives

Av Michael Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne, Huib Schippers

1049 kr

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Beskrivning

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.

Produktinformation

Utgivningsdatum: 2019-07-15
Mått: 178 x 229 x 17 mm
Vikt: 649 g
Format: Inbunden
Språk: Engelska
Antal sidor: 278
Förlag: Intellect
ISBN: 9781783209972

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Mer information

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.

Recensioner i media

'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.'

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