This national conference will provide professional development opportunities for artists who work in correctional institutions at all levels and best practices for arts administrators who would like to learn how to implement and manage these programs.
Participants in this conference will have opportunities to
Share best practices in program development and curriculum design
Learn about current research models, including evaluation and documentation
Develop opportunities to collaborate with justice reform advocates in different states and nationally
Participate in workshops showcasing exemplary programs for juveniles and adults, as well as restorative justice and re-entry models
Learn how to build public awareness and enhance programmatic sustainability
Continue to build the Justice Arts Coalition as a national support organization for artists who teach in correctional institutions and artists coming home
Participate in art classes in various disciplines taught by master artists
* Monday, June 24th is reserved as a pre-conference training day for arts providers and contractors teaching in the CA State Prison System
* Friday’s schedule features Future IDs Workshops at Alcatraz
Confirmed speakers include:
Jimmy Santiago Baca, Conference Artist-in-Residence, as well as Beth Bienvenu, National Endowment for the Arts; Anne Bown-Crawford, California Arts Council; Larry Brewster, University of San Francisco; Dameion Brown and Lesley Currier, Marin Shakespeare Company; Annie Buckley, California State University – San Bernardino; Laura Caulfield, University of Wolverhampton, UK; Mary Cohen, University of Iowa; Mandy Gardner, Southwest Correctional Arts Network (SCAN); Allia Griffin, Santa Clara University; Jane Golden, Philadelphia Mural Arts; Beverly Iseghohi, Urban League of Greater Atlanta; Ashley Lucas, University of Michigan; Dorsey Nunn, Legal Services for Prisoners with Children / All of Us or None; Meade Palidofsky, Story Catchers Theatre; Gregory Sale, Arizona State University; Kyes Stevens, Auburn University; Curt L. Tofteland, Shakespeare Behind Bars; Ella Turenne, Occidental College / Inside Out Prison Exchange Program
Contractors in the California Arts Council state prison arts program should contact their providers to register.
Artists and staff affiliated with local and state arts agencies throughout the United States should contact CLA conference staff for special discounts available through NEA funding.
Address for the HOC Mural Project Unveiling Celebration with MIT at the Suffolk County House of Correction
Feb. 15, 2019
Lately, we’ve all been hearing a lot about walls – whether we like it or not.
And as a result, we can’t help thinking about what a wall represents: division, protection, confinement – all of which are a necessary part of a facility like this.
But a wall can also be a canvas that inspires imagination and creativity.
And big walls, like this one, communicate a message with a particular kind of power.
The message of the women in the Women’s Program here, who designed this work of art in just four, one and a half hour classes, was conveyed in this way:
One might interpret the eyes as the eyes of the soul, and our sorrows illustrated by tears. And so often – if we’re patient enough – we find our sadness leads to new growth represented in the form of the tree. Jellyfish are unconfined by walls and water. Walls become the universe, a ceiling the sky, and flowers break through anything that might stop them from blooming. All of this saying, that no matter what, we have to capacity to break through what may confine us. And that’s why everyone wanted a doorway that leads to the light of possibility and hope.
And so, art transformed a blank wall into the image, I would say, of human resilience, showed how we can dissolve, scale and transform any wall that may threaten to permanently confine us. Walls like: disappointment, failure, addiction, poverty, fear, heartbreak, prejudice, and any number of traumas we encounter as we live our lives.
If we are human, it’s pretty hard to avoid one or all of these things — no matter our life circumstances.
That is why a large part of the HOC Mural Project’s vision was to form an unlikely union between two groups of people in two very different life circumstances.
One group would be considered to be privileged, celebrated for their skills and the social and technological contributions they will make to our country and even the world. The other, once back in society, will have a great deal to face and overcome, including stigma and a sense of alienation, in order to establish a life that is secure and settled, productive, and healthy.
And yet, put these two groups together in this room to learn together how to make what you see before you, and what lies between them is no division, only respect, camaraderie, and friendship.
My role in this project was small. I thought of having the women here paint a mural long ago, and I made the first overture to MIT. Other than that, I pretty much just stood around; and while standing around, I couldn’t help but observe. And this is what I saw:
I saw an immediate bond develop between Mijin and Sokhee, created not only by a common purpose but by a common language.
I saw and heard everyone express admiration and respect for Johanna’s portrait of mother and child, and I saw Johanna glow with new-found confidence in herself as an artist.
I saw admiration and respect for Yahaira’s leadership, and the patience and perseverance that she and Jennifer brought to the two full weeks they worked together to perfectly execute the leaves on the tree.
I saw the moment that Allison, urged on by everyone’s encouragement, broke through her hesitation to put paint to canvas. I saw Lesley and Farrah, Norma and Graciane let go of self-doubt to engage whole-heartedly in every aspect of the experience. Along with the creative work, they often took on the less romantic yet equally important task of prep work and clean up.
I saw the group’s dependence on Taylor and Johanna’s ability to make the sky, and dependence on how all the MIT students effortlessly measured and strung the grids that showed everyone where to place each image.
I watched how everyone arrived each day to immediately plunge in and work without a break (unless there was pizza and doughnuts) until it was time to go.
And I saw everyone, without exception, contribute his or her individual strengths to a single purpose and goal — in no way motivated by ego or the need for individual recognition.
And I have to mention Yinka. Yinka’s candle, the image she suggested be in the design and the image that perfectly depicted Yinka’s spirit, one that brought her to come and work cheerfully on this mural just a few hours before she knew she would be deported to Nigeria and separated, perhaps permanently, from her husband and two young sons. Yinka’s optimism and courage and faith was an example to us all, and I believe we will always think of that candle as the symbol of the light Yinka brought to our lives.
So again, there was no wall at all between the individuals who made this work of art. And because they experienced that unity in a tactile and visceral way, they will disperse what they learned here throughout their lives, and I hope influence those who might see only division where there is unity and only difference where there is always commonality.
This may just have been this project’s greatest achievement of all.
I am proud to have been part of this institution, the Suffolk County House of Correction, and to have witnessed two very different institutions cooperate and collaborate to make all of this happen, spurred by a common belief in the value of art to heal, unify, and inspire.
Funding for this project was provided by the Massachusetts Institute of Technology Office of the Vice Chancellor and The Council for the Arts at MIT.
About the guest contributor:
Peggy Rambach M.A., M.F.A., is the author of several books and is recognized primarily as a writer, though she has become intensely devoted to pastel. She has studied with local pastel artists and is otherwise, self-taught. She has taught as a non-benefit employee at Suffolk County House of Correction since 2008.
Along with her work in Corrections, Ms. Rambach has taught in healthcare, in social service centers, and in the Medical Humanities. She has received grants and fellowships from the Schwartz Center, the Massachusetts Cultural Council, The Massachusetts Literacy Foundation, and the Yaddo and MacDowell artist colonies. Ms. Rambach is also a featured artist in the documentary film: The Healing Arts, New Pathways to Health.
by Rosie Worster, Director of Programmes at The Fair Justice Initiative
Nsawam Medium Security Prison is the largest in Ghana, located not far outside the capital of Accra. It is a place associated with utmost shame, particularly for the eighty or so women held in the female section. Crime is thought dirty, ungodly, unfeminine. Many of the detainees hide the fact of their incarceration from their families, deliberately isolating themselves to avoid that rejection. Others maintain a desperate line of contact with relatives who as the years pass change their numbers, visit less frequently, or forget them altogether.
It’s difficult to link this to the series of brightly coloured portraits in ‘Remember Me’, one for each of the 12 women serving death penalty and life sentences at Nsawam Prison. That contrast is deliberate, as part of an attempt to change the conversation around incarceration in Ghana. Rather than seeing these women as irredeemable, lesser and other, the project tells a story of creativity, hope and connection. It seeks to grant these women the validation of being remembered as people with identities more complex than their incarcerated status.
The portraits are the last stage in a collaborative and participatory art project conceived by photographer Francis Kokoroko and artist and stylist Rania Odaymat, and facilitated and supported by The Fair Justice Initiative, a local NGO. Throughout 2018, Rania and Francis visited the prison to conduct different workshops that would encourage the women to express their own aesthetics, views and aspirations. The first focused on collage making, the results of which were later used to provide direction and inspiration for the final portrait making session. A second image-making workshop using a Fujifilm Instax instant camera explored body language and expression, a way to circumvent the prison restrictions on photographing faces whilst the permit to lift that ban remained pending. Finally, permission for the final portrait session was granted. The portraits were produced within a stipulated two-hour time window with the assistance of a team of volunteers from Dark and Lovely, and from make-up artist Sandra Don-Arthur.
In each photograph, the women swap their blue and white prison garb for traditional dress, elaborate headpieces and carefully coordinated accessories. They are strong, beautiful, and smiling. These are women who want to be remembered not just for their crimes, but for being Adwoa, Abena, Agnes, Ama A, Mary, Lamisi, Ama Y, Esther, Akosua, Salamatu, Zelia and Talata.
After being shown as part of the ‘Make Be’ exhibition at La Maison in October 2018, the advocacy work of the project is expanding to new forms. Rania, Francis and The Fair Justice Initiative are working to develop a coffee table book to present to diplomats and politicians in Ghana with the power to influence policy change. The book contains both the photographs and testimonies from the women themselves on their challenges, hopes and dreams. It is hoped that a second edition and a calendar will also be produced to raise awareness through sale to the general public, and that the exhibition will be able to travel to new audiences.
Rania and Francis’ work is available to see on their Instagram pages, @accraphoto and @rania_odaymat. You can follow the development of the ‘Remember Me’ project through The Fair Justice Initiative’s social media (Instagram/Twitter/Facebook) at @fairjusticegh, and on their website www.fairjusticegh.com.
About the guest contributors:
Rania Odaymat is an artist, stylist, creative facilitator and curator. She is one of the founding members of the Beyond Collective, a Ghanaian non-governmental organisation whose aim is to promote creative awareness and education, as well as facilitate artistic exchanges and collaborations. She is also a trustee of the Fair Justice Initiative.
Francis Kokoroko is a creative and photojournalist with a keen interest in documenting the ever-evolving cultures and everyday life on the African continent. He uses his images to communicate a personal message, and believes that emotion is the most important element of any picture.
Rosie Worster is the Director of Programmes at The Fair Justice Initiative (FJI), a Ghanaian non-governmental organisation (NGO) working primarily with detainees at Nsawam Medium Security Prison. Their mission is to combat discrimination and prejudice against current and former inmates, ensure equal access to effective legal representation, and improve the conditions of confinement in Ghanaian prisons.
A note from PAC’s Manager: Though PAC typically focuses on programs and artists in and around the US justice system, when we learned about the Remember Me project, we were eager to help expand its reach. We hope you’re as inspired by it as we are.