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.

• Notes on ContributorsPrefaceIntroduction: Performing arts in prisons - creative perspectivesMicheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib SchippersChapter 1: A correctional perspective on the creative arts in prisonsAndrew DayChapter 2: Geese Theatre Company - 30 years onLouise Heywood, Andy Watson MBE and Michael BalfourChapter 3: One Mob Different Country: First Peoples of Australia dance in Darwin PrisonJohn Rynne, Dennis Lew Fatt and Brett SchroderChapter 4: 'This place is full of drama queens': Reflecting on the value of drama in a women's prisonSarah WoodlandChapter 5: Through the looking glass: A voice from the inside Anya (pseudonym)Chapter 6: Breaking the fifth wall: How performance might assist desistance from crimeLinda DaveyChapter 7: Drumming interventions in Australian prisons: Insights from the Rhythm2Recovery modelSimon Faulkner and Brydie-Leigh BartleetChapter 8: Arts in Corrections New ZealandJacqui MoyesChapter 9: The play's the thing: Performance in Prison ShakespeareRob PensalfiniChapter 10: 'Heart and heartbeat': Working beyond prison theatre, performing protagonismo social in the real worldPenelope GlassChapter 11: 'Strategies for success': Trusting the power of the artsMaud ClarkeChapter 12: Performing arts activities with hopes to build positive self-identity, heal harms and broaden the US public's perceptions of people inside prisonsMary L. CohenChapter 13: Unlocked: Prison poetry workshops as a key to engaging inmatesJohanna Featherstone and Huib SchippersChapter 14: 'Music is the colour of my skin': The story of the Murru BandDudley Billing and Dave PalmerConcluding Reflections Micheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib SchippersIndex

'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.'

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.

• Notes on ContributorsPrefaceIntroduction: Performing arts in prisons - creative perspectivesMicheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib SchippersChapter 1: A correctional perspective on the creative arts in prisonsAndrew DayChapter 2: Geese Theatre Company - 30 years onLouise Heywood, Andy Watson MBE and Michael BalfourChapter 3: One Mob Different Country: First Peoples of Australia dance in Darwin PrisonJohn Rynne, Dennis Lew Fatt and Brett SchroderChapter 4: 'This place is full of drama queens': Reflecting on the value of drama in a women's prisonSarah WoodlandChapter 5: Through the looking glass: A voice from the inside Anya (pseudonym)Chapter 6: Breaking the fifth wall: How performance might assist desistance from crimeLinda DaveyChapter 7: Drumming interventions in Australian prisons: Insights from the Rhythm2Recovery modelSimon Faulkner and Brydie-Leigh BartleetChapter 8: Arts in Corrections New ZealandJacqui MoyesChapter 9: The play's the thing: Performance in Prison ShakespeareRob PensalfiniChapter 10: 'Heart and heartbeat': Working beyond prison theatre, performing protagonismo social in the real worldPenelope GlassChapter 11: 'Strategies for success': Trusting the power of the artsMaud ClarkeChapter 12: Performing arts activities with hopes to build positive self-identity, heal harms and broaden the US public's perceptions of people inside prisonsMary L. CohenChapter 13: Unlocked: Prison poetry workshops as a key to engaging inmatesJohanna Featherstone and Huib SchippersChapter 14: 'Music is the colour of my skin': The story of the Murru BandDudley Billing and Dave PalmerConcluding Reflections Micheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib SchippersIndex

'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.'

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.

• Notes on ContributorsPrefaceIntroduction: Performing arts in prisons - creative perspectivesMicheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib SchippersChapter 1: A correctional perspective on the creative arts in prisonsAndrew DayChapter 2: Geese Theatre Company - 30 years onLouise Heywood, Andy Watson MBE and Michael BalfourChapter 3: One Mob Different Country: First Peoples of Australia dance in Darwin PrisonJohn Rynne, Dennis Lew Fatt and Brett SchroderChapter 4: 'This place is full of drama queens': Reflecting on the value of drama in a women's prisonSarah WoodlandChapter 5: Through the looking glass: A voice from the inside Anya (pseudonym)Chapter 6: Breaking the fifth wall: How performance might assist desistance from crimeLinda DaveyChapter 7: Drumming interventions in Australian prisons: Insights from the Rhythm2Recovery modelSimon Faulkner and Brydie-Leigh BartleetChapter 8: Arts in Corrections New ZealandJacqui MoyesChapter 9: The play's the thing: Performance in Prison ShakespeareRob PensalfiniChapter 10: 'Heart and heartbeat': Working beyond prison theatre, performing protagonismo social in the real worldPenelope GlassChapter 11: 'Strategies for success': Trusting the power of the artsMaud ClarkeChapter 12: Performing arts activities with hopes to build positive self-identity, heal harms and broaden the US public's perceptions of people inside prisonsMary L. CohenChapter 13: Unlocked: Prison poetry workshops as a key to engaging inmatesJohanna Featherstone and Huib SchippersChapter 14: 'Music is the colour of my skin': The story of the Murru BandDudley Billing and Dave PalmerConcluding Reflections Micheal Balfour, Brydie-Leigh Bartleet, Linda Davey, John Rynne and Huib SchippersIndex

'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.'