Noh Budget Films 07956 877358 www.tonycealy.com
Theatre is just a soft option isn’t it?
“Drama is the course most desired and least provided” - Prison Reform Trust 2003
Different elements of Desistance Theory relate to different people at different time during/after a project.
http://www.artsincriminaljustice.org.uk/re-imagining-futures-exploring-arts-interventions-and-process-desistance
http://www.artsevidence.org.uk/texts/guides/understanding-desistance-crime/
http://www.clinks.org/sites/default/files/null/Introducing%20Desistance%20-%20August%202013.pdf
This is a summary of findings from “Creative action methods and drama learning and desistance from crime: the case of a Tony Cealys’ creative thinking programme with young offenders”.
We observed twenty two 18-24 year olds who participated in a creative thinking project at a Youth Offender institution in January 2013. All participants were either at risk of self-harm or suicide, on violence reduction programmes, reluctant to engage, and/or experiencing mental illness.
Desistance process themes / Attributes reported as developed through creative thinking, which some participants take forward with them.Identity & diversity / Improvisations support participants to act independently and make their own choices. They develop a positive identity, considering themselves as performers and as part of a group.
They learn the importance of listening and respecting others’ opinions.
Motivation & hope / Participants feel ‘normal’, giving hope and motivation to participate. They gain confidence through learning the exercises, putting on a performance and voicing opinions in group discussions. The ‘personal triumphs’ of the project contribute to the construction of personal narratives about employment after release. Participants use attendance as a test of commitment – reporting that by committing to something that might not be to their taste theatrically, they believe they will be able to commit to a job on release.
Professional & peer support / Tony Cealy models positive behaviour and values through the course, which they start to imitate. Participants take ownership of their responsibility to the group; seeing the value of this, they support their peers to do the same.
Development of personal & social strengths / They practise developing strategies to cope with frustration during challenging group problem-solving discussions.
Their social skills improve because of the emphasis on discussion and joint-decision making. They learn that working in a group requires listening and the ability to see oneself as part of a team.
Respect & self-determination / Participants exercise personal choice in overcoming challenges and controlling anger to participate calmly in the course again. It feels important for participants to succeed and to be seen by families to be succeeding. Participants gain respect from other group members for sticking at things after difficulties. Participants report overcoming insomnia.
Development of social capital / They move from an individualistic to social engagement with the drama and theatre where complex improvisations are created as a result of the integration of their individual contributions. They get better at having more constructive group discussions as they mimic group improvisations techniques. This supports them to act co-operatively creating benefits for the group.
Noh Budget Films 07956 877358 www.tonycealy.com