The Use of Art Education as a Tool for Rehabilitation: An

Overview of Recreational and Social Enterprise

Approaches Used Within Female Custodial Settings

Sophie Nickeas

19 June 2013

Abstract

With high rates of re-offending and a steady increase in the amount of incarcerated women

in the UK there is the need for effective strategies for rehabilitation. This paper examines

how two different approaches to art education in female prisons assist rehabilitation. It

explores the notion that art for therapeutic and recreational purposes could be viewed as

more effective in its positive outcomes as opposed to the promotion of social enterprise

ventures of a creative nature. It suggests this through the comparing and contrasting of the

two prominent prisoner arts charities: The Koestler Trust and Fine Cell work. This research

challenges this idea by offering up the viewpoint that art for recreation and the promotion of

purposeful activity through the arts is more meaningful and contusive to a prisoners learning

journey whilst incarcerated, ultimately providing them with the skills and confidence they can

apply upon release, thus positively aiding rehabilitation. The literature review reveals that

little is known about the level to which social enterprise and self-employment is measured

against successful rehabilitation, specifically with groups of female ex-offenders. Data has

been sought through the use of a prisoner survey conducted during a group arts project and

the case studies of 2 prisoners working as classroom assistants in the art department at a

closed female prison.

Introduction

This paper will examine the use of arts education within female custodial settings as a tool

for rehabilitation, focusing on two curriculum models of arts education currently being

delivered in female prisons. It will discuss whether art for recreational and therapeutic

purposes is a more effective way of aiding rehabilitation through the promotion of self-

esteem and employability skills than the use of social enterprise and business led ventures

of a similar nature.

Female inmates currently make up around 5% of the overall prison population in the UK

(Ministry of Justice, February 2013) and this may account for the limited research conducted

in the field of female prisoner art education in relation to rehabilitation and its role in

promoting an offender's self-esteem and/or equipping them with vocational skills. This paper

will offer insight into strategies to support the rehabilitation process of offenders through

participation in the arts and social enterprise of a creative nature, measuring success

through growth in confidence, personal perception and the acquirement of employability

skills.

The Issue

There are various types of custodial settings types in the UK, each facilitating offenders and

detainees. Towards the end of 2012 there were over 85,000 people incarcerated in the UK,

just over 4,000 of which were female (Women in Prison, 2013). Over the past decade the

number of female prisoners has increased by around 12%, a lower rate of increase than the

male population, approximately 30% (Berman, 2012, 1:4, page 5). Even though the

percentage of the prison population that women currently make up has not increased

dramatically over the past decade, the actual number of women imprisoned each year is a

growing concern and access to provisions whilst incarcerated is something that needs to be

constantly addressed and reviewed to meet demand. This includes access to education and

employment. All prisoners have the right to attend work or/and employment for the duration

of their sentence. The quality and diversity of these provisions will inevitably vary from

establishment to establishment.

Some female establishments have focused their attentions onto creative social enterprise

and the value of handcrafted items, often substituting their arts curriculum for a more

business focused outlet. A case in point being YOI & HMP Peterborough, the only prison in

the UK operating as both a male and female establishment. In 2011, the art workshop on the

female site was disbanded and now operates as a social enterprise venture called 'Jailbirds'.

Prisoners are employed as workers that handcraft items for sale within the prison system

and to the outside world.

During a seminar hosted by the Koestler Trust in September 2012, the delegation of prison

art tutors engaged in a heated debate regarding the possible (or already imposed)

integration of social enterprise into their establishment’s art departments. The suggestion of

making artwork or crafting items for gain was met with hostility from some tutors with one

woman commenting: ‘the mention of making artwork to give away through selling it is

creatively stifling’. However, this is not an opinion shared by all professionals and some

establishments welcome the integration of creative social enterprise, seeing it as a

necessary step towards demonstrating results and success in regards to rehabilitation.

There is argument for the need, purpose and outcomes of both curriculum models. There

are those who view art as powerful tool in rebuilding confidence, re-connecting with

education and learning, engaging with others and expressing oneself through therapeutic

means. On the other hand there are those who believe that a prison’s art provision should

provide results in the form of work ethic, practical skills, the production of products for sale or

use within the prison and should ultimately prepare a person for work or even provide them

with a job. The issue really lies with how success is measured in terms of rehabilitation. Is it

preferable to change a person’s perception of themselves and the world around them,

ultimately improving mental health through the use of art or is it more effective to promote

business skills and self-sufficiently through social enterprise?

Literature Review

Social Enterprise

The 'OLSU Delivery Plan' (2003) was set out by the Department for Education and Skills

(DfES) to radicalise and reform prisoner education. Under its proposals subject areas such

as art, drama and dance would be reprioritised to allow for greater access to vocational

training, self-employment and social enterprise. Research suggests that employment can

reduce the risk of re-offending by between a third and a half (Social Exclusion Unit, 2002).

However, two-thirds of prisoners arrive in prison from unemployment and three-quarters

leave prison with no job to go to. For some offenders, self-employment may present the

most practical way of re-entering the labour market (Social Exclusion Unit, 2004). This was

certainly the case for 6 offenders at HMP Wandsworth in 2008 when they were collectively

awarded £10,000 from the Government Office of London (GOL) to invest in business

ventures upon their release (The Learning Journey, 2008).

GOL had intended to use the project to explore the options for reducing re-offending through

support of enterprising ex-offenders planning self-employment for their resettlement in the

community. This project fitted well with existing social enterprise programmes and provided

a good fit with GOL’s work to promote Enterprise and support offenders in starting up and

running their own businesses. GOL also wanted to use the project for path finding, to

explore the options for successful interventions to reduce re-offending (The Learning

Journey, 2008). As yet, there has been little evidence gathered or research conducted that

can be easily located to support GOL’s intentions or to chart the success of the 6 ex-

offenders.

A report released by the Small Business Service highlighted the fact that very little is known

about either the provision of enterprise support for offenders in England or its success in

helping them into work (Fletcher, 2004). The report suggested that there was limited

literature and relevant material on the topic. This appears to be the result of two main

factors, Firstly there is relatively little entrepreneurial support made available to offenders

and secondly, many believe that expecting offenders to run their own businesses is

unrealistic (Fletcher, 2004). The report also found that some prisons were unable to provide

an ideal environment in which to deliver enterprise support. Practitioners highlighted several

difficulties including the over-riding priority given to security, resulting in projects regularly

being disrupted by lock-downs, transfers and movements causing disruption to training

courses and the suspicion and hostility between prison and external provider staff reflecting

deep cultural differences may hamper partnership working (Fletcher, 2004).

Fine Cell Work (FCW) is a social enterprise which trains prisoners to do high quality, paid

craftwork in their cells to improve mental health, build employability skills and motivate them

to engage with learning outside of a normal educational environment (Emck, 2012).

Prisoners are encouraged to save the money they earn from the venture to invest in their

future, they will also develop the technical skill and personal discipline to execute

professional commissions done to deadlines. An evaluation commissioned by FCW by

Browne & Rhodes (2011) concluded that participation in the project helped to distract the

mind away from stress and anxiety, promote calmness and concentration and provided a

positive activity to continue on with after release from prison.

Art as therapy

Various researchers from diverse backgrounds in teaching, art, therapy, and administration

report that artistic activities have several benefits for prisoner rehabilitation and institutional

management (Johnson 2008, p 102). Art has a long tradition in prisons all over the world

with many studies focusing on the positive effects of art as a tool for therapy and

rehabilitation in custodial settings. Art supports creative activity in prison and provides

necessary diversion and emotional escape (Gussak, 2007). In response to the 2003 OLSU

delivery plan The Prison Reform Trust highlighted some of the detrimental effects of 'phasing

out' art based subjects from the prison curriculum. Respondents of the Trust’s report cited in

'Time to Learn' (Braggins & Talbot, 2003 p4) commented that 'the curriculum broadly ignores

the positive contribution creative education can have when dealing with very damaged

individuals with low self esteem and a low opinion of formal education'.

Art therapists work in a variety of rehabilitation settings and with a variety of issues including:

mental health problems; learning difficulties, language and communication difficulties,

imprisonment, medical problems, sensory or physical problems, stress, emotional and/or

social problems (Fenner et al, 2013). Each context has its own requirements for

rehabilitation and art therapists need to consider what aspects of art therapy can serve

within the rehabilitative process (Jones 2005). Art by way of therapy involves the discovery

of new connections, relationships and meanings in a safe and non-judgmental atmosphere,

which in turn provides the client with alternative perspectives on life and relationships with

others. Thus, art therapy can work in multifaceted ways involving the whole person including

sensory-motor, perceptual, cognitive, emotional, physical, social and spiritual aspects.

Growth through art is seen as a sign of growth through the whole person (Karkou and

Sanderson 2006, p 6). Art therapy ultimately works in a strengths-based way to assist in

rehabilitation through restoring the self (Fenner et al, 2013)

The offender Arts charity ‘The Koestler Trust’ sets out to channel offenders' energies to

positive ends, to build their self-worth and help them learn new skills

(http://www.koestlertrust.org.uk/, 2012). They believe that this can be achieved through art,

viewing it to be an effective way of engaging with offenders who feel alienated from

mainstream education and employment. The Trust has plenty of anecdotal evidence that Art

in prison can offer significant benefits for offenders in terms of their mental health, personal

development and on release from prison to reduce their chances of re-offending, ‘We

regularly commission independent research reports to monitor how well we are doing in

achieving our charitable aims’ (http://www.koestlertrust.org.uk/, 2012).

As Koestler’s Chief Executive comments: ‘the UK is the only country in the world to host a

national showcase of art by prisoners and offenders on community sentences, the arts are, I

believe, the single most cost-effective and powerful way of developing offenders’ skills,

discipline, self-esteem and relationships - all factors that we know help prevent re-

offending. As a prisoner at HMP Buckley Hall has just written to me: 'I always get a sense of

achievement since I started doing art. Getting your letter to say my work is in the exhibition, I

feel so proud. I can’t wait to tell my family’ (Robbins, Ministry of Justice, 2011).

The Koestler Trust employs prisoners and ex-offenders at all levels, currently making up

around 40% of its workforce (Sandler, 2011). They also run a very successful mentoring

programme which aims to support recently released prisoners to maintain and develop their

arts activity in the community using a pool of professional artists as mentors and to

demonstrate that the arts can have wide-ranging benefits for offenders by potentially

reducing re-offending and to disseminate an imaginative new model of resettlement support

(http://www.mandbf.org, 2011).

Data Capture and Analysis

Methodology and Ethical Dimensions

This research was conceived through a number of qualitative research methods including

the use of surveys, face-to-face interviews and direct observations from the setting of YOI &

HMP Bronzefield, a privately run closed female prison in Middlesex. The purpose of this

data collection was to compare the thoughts and opinions of the prisoner with existing

literature dealing with prisoner rehabilitation and progression following their experience of

prison arts education. Information has also been collected from two prominent offender arts

charities in order to ascertain female offender participation and opportunities for ex-

offenders.

Conducting research as the ‘researcher practitioner’ within the workplace has flagged up

some issues surrounding experimenter bias and whilst there has been a need to remain

impartial, there was insufficient time to explore its nature or extent given the time frame of

this research. There were also ethical issues associated with conducting research within the

prison environment; it was for this reason that all learner (prisoner) surveys were completed

anonymously and interviewees have not been named. As YOI & HMP Bronzefield operates

as a dual-purpose art department, facilitating in-house accredited social enterprise projects

and courses as well as the offer of non-accredited arts and craft courses for recreational

purposes, varied data and differing experiences could be collected and analysed in support

of this paper’s line of enquiry.

Learner feedback

In order to ascertain the prisoners’ thoughts on the courses and curriculum offered in the art

department at the prison surveys were introduced as a ‘homework’ task. Over the course of

one week surveys were distributed to learners taking part in a group art project. They were

asked to complete it and return them the following week. The survey consisted of 10

questions regarding the provision of art education at the prison (see fig 1.1). By the end of

the two-week course, 17 questionnaires had been completed and returned, having

distributed in excess of 30.

When asked to complete a written task, some learners can often be put off by the thought of

it. Many have learning difficulties and some cannot read or write at all. This was taken into

consideration and anticipated. Of the 17 completed questionnaires all participants had taken

at least one arts course with 15 having completed 2 or more courses at the prison

(responses to question 1, see fig 1.1). Questions were composed in such a way to make the

participant think about how they viewed art education and what it meant for them. This

included finding out about general perception regarding art and its purpose in prison.

Questions were also designed to ascertain the validity of vocationally linked arts courses and

the ways in which they could benefit the learner upon release.

In response to question number 2, regarding course accreditation (see fig 1.1) the majority of

participants ticked ‘no’, that they hadn’t completed an arts course offering a qualification. In

actual fact the majority of them actually had as they had listed courses; ‘jewellery with

business’, ‘card craft with business’ etc. When asked about what interests them about the

courses offered, the answers received ranged from one-word answers of ‘nothing’ to ‘it fills

time, teaching me skills for when I leave prison, it helps me with concentration’. Other

participants commented that they enjoyed the experience and that courses were ‘fun, as well

as educating’. The majority of learners gave good feedback for this particular question and

expressed positivity towards undertaking art courses. Some respondents suggested that

courses including: pottery, calligraphy, creative writing, sewing classes, cake decoration,

fashion design and dressmaking could be offered additionally in the department. There was

little data received to ascertain whether or not learners had benefited from completing a

business/enterprise related creative course, this may have something to do with the fact that

question 2 established that some learners were unclear as to whether they had taken an

accredited course or not. Some participants simply answered ‘no’, whilst most left the

section blank. One respondent wrote: ‘the business element to the course has given me

ideas of how to go beyond just the making of the goods’ and another commented ‘I was

taught how to market and package the jewellery I made’.

Learners were asked to give the details of any projects they had undertaken on non-

accredited art courses. Around a third of participants had completed the fine art or creative

arts project but very few provided any details regarding the projects. Those that did

commented on a recent ‘black history month’ themed project. One learner commented: ‘I

had an opportunity to look at African art, something I have never done before’. Most

participants expressed that completing a course(s) had helped them in some way whilst they

were in prison. However, three contributors suggested that completing a course that had not

helped them in any way at all. One lady who successfully secured a job within the

department as a jewellery worker commented: ‘it has calmed me down, given me a focus,

given me something to write home about and now provided me with a permanent job’. Other

positive responses included: ‘it is most interesting and I am focused’ and ‘I was able to show

my ability in a practical way and also explore other capabilities I didn’t know existed’.

Most learners were not interested in pursuing a creative course upon their release, however

the majority (14 in total) expressed an interest in pursing creative interests and applying

skills they’d learnt as a hobby outside of prison. The final question (10) was multiple choice,

learners were asked to tick as many statements that they agreed with from a list of 7 options

(see table fig 1.2).

Fig 1.1 Prisoner Questionnaire

Creative Arts Education at Bronzefield 1. Which courses in Social Enterprise have you taken/currently completing? _________________________________________________________________________ 2. Did any of these (or does this course) offer a qualification? YES NO 3. What interests you about the courses offered in Social Enterprise? _________________________________________________________________________ 4. If any, what other courses would you like to see being offered? __________________________________________________________________________ 5. If you have taken a creative arts course with a business studies element, did you find it useful and relevant? YES NO Please give details ___________________________________________________________

6. Have you taken the fine art course or creative arts course in Social Enterprise? YES NO If yes, please give details of any projects __________________________________________ 7. How has taking a course in Social Enterprise helped you whilst you have been in prison in terms of self-esteem, wellbeing, concentration etc? ___________________________________________________________________________ 8. Would you be interested in pursuing a creative arts course after you leave prison? YES NO If yes, please give details _______________________________________________________ 9. Would you like to continue with art/crafts as a hobby after you leave prison? YES NO If yes, please give details _______________________________________________________ 10. Please see fig 1.2

Fig 1.2: data received for question 10 of prisoner survey.

Statement

Number of participants agreeing with statement

Art education should be linked to employment skills

10

Art is about learning technical skills and becoming an artist

6

All courses in Social Enterprise should offer a qualification

10

Self employment skills and arts education are two different things

4

Making art should be about recreation and wellbeing

9

I see art as a hobby, something that is enjoyable to do

11

There is little money to be made through making art

4

Total number of participants: 17

Learner case studies

The survey was followed up with a series informal interviews and conversations with two

ladies employed as classroom assistants in the art department (both women having also

contributed to the survey). Both ladies had served relatively short sentences (10-12 weeks)

and were released in November and December 2012, it was their first offence and first time

in prison. They were of a similar age (mid to late forties) and both had grown up children.

Assistant A was employed as a full time classroom assistant supporting tutors on the Fine

art course. She saw the benefits of promoting ‘self esteem’ and learning new skills to ‘share

with children’ on the outside.

The prisoner was asked what it was that attracted her to work in the department, why had

she applied for the job? She said she had always had great interests in creating things from

scratch and showing others what they could produce using limited resources. She said that

she had gained a great deal from the time she had spent in prison and it had made her more

determined to follow her creative ambitions of helping others realise their potential through

art. She said that she saw art ‘as a healing activity, a distraction from all the other stuff that’s

going on in your head’.

Before assistant A was discharged she arranged for a display board to be updated to

advertise courses available in the department. She expressed that she wanted to ‘create a

space where prisoners work could be showcased and not hidden away in the art room.

Displayed with large cut out letters the board reads: ‘lose yourself in art’ along with the

slogan: ‘your body may be imprisoned, but your mind is free’. Each course offered in the

department is advertised through oversized visual representations including a large needle

and cotton role, a treasure chest, huge pieces of jewellery and a shelf complete with out

outsized brushes and paint pots. In her words she said the intention was to ‘draw the girls’

attention, make them look at what a prisoner has made and think, I could make something

like that too’. She said that the board stood idle with many prisoners simply walking past it:

‘prisoners walked past it everyday on their way to work, yet no one ever stopped to look at it

or admire the work on display’.

Her ambition is to work with other female ex-offenders, producing and exhibiting artwork

through workshops and community projects. Upon her release she expressed a desire to

explore this further and even make contact with the prison’s director to ascertain the

possibility of her returning as a volunteer to run art projects. The most poignant thing this

lady had commented on was an experience she had had with another prisoner during a

social visit. She had seen a woman whom she had helped to make a nativity scene during a

visit and had noticed that she and her husband were sat in silence. As she walked past she

acknowledged the woman and commented to the man ‘you should see the nativity scene

that she has made, she’s worked so hard on it, it looks amazing, they’re (the prison)

displaying it in the chapel over Christmas!” The following day the woman thanked her and

said that it gave her and her husband something to talk about after a series of difficult visits

and that she felt proud about her achievement.

Assistant B was employed to assist and support learners on a jewellery making course. This

course is accredited and links practical jewellery making skills with business acumen and

social enterprise. She was very interested in this aspect of the provision in the department.

She would often practice making new jewellery designs in her cell and then formulate

suitable packaging to showcase them. She was highly enthusiastic and had a positive

outlook regarding her time spent in prison. She had often commented that she wanted to

learn as many skills as possible that could ultimately help her upon her release. The

intention being that she could set herself up in business selling pieces of unique hand

crafted jewellery, commenting: ‘I have made initial enquiries about funding and setting

myself up with the materials I need to get started. I have been keeping a list of all the

equipment I will need and my daughter has already bought me some items’.

When questioned about her previous work experience, assistant B expressed that she was a

nail technician but she had always dreamt of running her own business, making items to sell.

She had always had creative interests but was never able to pursue them. In fact the first

opportunity she had had to create her own designs and make products was whilst in prison.

In one conversation with assistant B, she commented: ‘sometimes I work up to four or five

hours a night after lock up making jewellery, I have to use the light from the TV!’ The day

before her release she left tutors a thank you card with the message inside ‘Thank you for

your patience and showing me a new skill, I have loved working here. I will be one of your

success stories!’

Opportunity for offenders in the arts

There are two prominent arts charities that work directly with prisoners and detainees in the

UK, The Koestler Trust and Fine Cell Work. Koestler specializes in the awarding, exhibiting

and selling of artworks by offenders, detainees and secure patients. The awards receive

over 7,000 entries a year across a variety of art forms. The annual exhibition at the South

Bank Centre in central London gives selected artists the chance to showcase their work on a

national scale. The Koestler Trust claims to actively demonstrate acceleration of

rehabilitation through the arts both therapeutically and vocationally. The trust believes that

participation in the arts can provide employability skills, high self-esteem, collaboration with

others and a feeling of purpose in life.

Through its mentorship scheme, the Trust supports prisoners whilst in prison and upon their

release in order to sustain creative interests. Successful mentees of the scheme are

assigned a suitably qualified mentor who will ultimately tailor a model of learning and

development for their individual needs. A mentee receives at least 10 mentoring sessions

with their mentor over a maximum 12-month periods. During this time the mentee will gain

access to new arts activities and existing community resources. Their mentor may also

accompany them to events or galleries, theatres etc. The first mentoring session will usually

take place whilst the mentor is still in custody. From thereafter the mentor will offer support

and set goals for mentee to achieve. This may include applying for courses, completing

projects or entering competitions.

Through email correspondence with Koestler’s Mentoring co-ordinator, it was established

that female participation in the scheme was high with 11 women successfully gaining a place

since the project began in 2007. This figure sees female participants making up around 18%

of all mentees. Two of the 11 women also received named Koestler Scholarships (May

Turnball Scholarship for Writing and the Barrow Cadbury Scholarship for a Female Artist)

and additional funding and prize money through the Koestler Trust. Both mentees received

their scholarships whilst serving prison sentences and began their mentoring process whilst

incarcerated. In addition to mentorship opportunities the Trust offers placements to women

from YOI & HMP Downview upon their release. Such roles include working as interns,

processing artworks and other entries to the awards and assisting with the annual exhibition.

At the recent 2012 ‘Free’ exhibition several Koestler interns were praised and recognised for

their work and contributing to the success of the awards by the Trust’s Chief Executive,

including some females.

Fine Cell Work (FCW) on the other hand is a social enterprise that trains prisoners in paid,

skilled and creative needlecraft undertaken in the long hours spent in their cells to foster

hope, discipline and self-esteem (http://www.finecellwork.co.uk, 2013). Various prisons

across the UK have taken part in the scheme since it was started in 1997 by Lady Anne

Tree, with hundreds of prisoners engaging in hours embroidering highly-crafted cushions,

bags, pictures and patchwork quilts in their cells. Following a visit to YOI & HMP Holloway in

the 1960s Lady Anne identified the need for prisoners to immerse themselves in activity that

would provide mental escapism from the stresses of prison life. Referring back to her time

spent working in a WW2 canteen she remembered that men and women would often use

embroidery as a means of escapism and realised the potential needlepoint had as a form of

therapy (http://www.prisonerseducation.org.uk, 2013).

‘I noticed over the years what a terrible waste of time there was (in prison)…and I got a lot

of fun out of embroidery’. Lady Anne Tree

(http://www.finecellwork.co.uk, 2012)

Prisoners (or ‘stitchers’) are paid for their work, which is then sold either online, in pop up

shops or as commissions. The charity has worked collaboratively with organisations such as

the Victoria and Albert Museum, English Heritage, Tate Modern and the national Gallery to

exhibit and sell prisoners work. Through the learning of new skills prisoners can help to

support their families with the money they earn. There is also the scope to broaden one’s

horizons beyond the prison walls, through making a contribution and connecting with the

wider society (http://www.finecellwork.co.uk, 2012). The belief being that ‘stitching’ works to

aid rehabilitation, enabling a prisoner to leave prison with the confidence and financial

means to stop offending.

In a piece of FCW promotional literature produced by FCW in 2010 a claim was made

regarding the shortage of skilled workers in the clothing and textiles sector. In particular,

employment in household textiles and soft furnishings would suffer a shortage of available

workers over the next ten years owing to gaps ‘gaps in creative, technical abilities, multi-

skilling, knowledge of materials and commercial management’ (Information for prisons, 2010

p-6). With this in mind the charity considers its vision to be to build a sustainable social

business with the prisoners as stakeholders in the enterprise. The aim is to become more

embedded in the prison system and to guide prisoners towards formal work training and

qualifications and to match them up with organisations that can provide support or

employment on release (Information for prisons, 2010 p-4).

On its website the charity suggests that 75% of its stitchers are men

(http://www.finecellwork.co.uk, 2012). In response to an email requesting information

regarding female prisoner participation, the charity’s programmes manager described how

the charity were only working with one women’s prison at present. He commented that there

are eight active female stitchers at that prison, adding: ‘this is a smaller number than at most

times in the recent past, we have previously had as many as 12 at the prison’. The email

also made reference to a Scottish female prison that the charity had previously worked with

but involvement ceased after the Scottish prison service reached the conclusion that it was

illegal for prisoners to receive external payment for work.

Discussion

Outcomes for offenders

When she created FCW, Lady Anne saw the opportunity to combine social enterprise skills

with a therapeutic activity. She cited two reasons for focusing on needlepoint for her

campaign. Her mother-in-law, Nancy Lancaster, owned the interior designers Colefax and

Fowler, had commented: ‘I had the possibility to sell good-quality needlework for good prices

through shops.’ Lady Anne was also convinced that sewing was therapeutic: ‘It is

meditative, a way of thinking, of taking stock’ (http://www.finecellwork.co.uk, 2012). Yet

many female prisoners are missing out on this opportunity. Even though FCW was created

following to a visit by Lady Anne to women’s prison in the 1960s, it has been unsuccessful in

reaching out to the vast majority of female prisoners since its 15 year operational history.

With in excess of 4000 incarcerated women in the UK (Ministry of Justice, 2012), it is

unfortunate that FCW can only accommodate 8 of them.

In respect of its ability to rehabilitate and provide opportunity upon release, data relating to

the progression of FCW stitchers is sparse. There is limited mention of this on the charity’s

website also, the ‘prisoners stories’ section is heavily populated by male case studies and

there is little to suggest that any ex-offenders have progressed into careers in the textiles

industry. There is however the mention of one female ex-offender who has continued her

needlework as a volunteer for the charity (see Susan’s story below). Whilst there is a wealth

of notable positive outcomes of the charity’s work with prisoners, it does seem however to be

heavily focused the ‘offender’ in prison rather than the ‘ex-offender’ with the acquisition to

get a job or start a business. To some extent FCW can be viewed more as an outlet for self-

help and therapy than a social enterprise venture in its development of skills set

(needlework), fostering self-discipline and independence.

‘My kids at the time were five and seven years old so still babies, each time I got my money

I would send my money back home and it helped my kids in school. The older one was in

primary and she got a scholarship and I ended up paying for all her books, uniforms the lot.

The money was to do something to benefit my kids not even for me, this was my comfort’

Susan’s Story

(http://www.finecellwork.co.uk, 2013).

Participation

In September 2012 YOI & HMP Bronzefield received an award in recognition of being the

most successful female establishment in the 50th year of the Koestler Trust awards. This

award recognised both participation and achievement, with a total of 86 submissions of

various art forms winning 26 awards. There are only 13 women’s prisons in the UK and

since women currently only make up around 5% of the prison population (Ministry of Justice,

2013) it may stand to reason that submissions to the annual Koestler awards would reflect

this figure. However, statistics provided by Koestler indicated that women made up around

13% of single entrants in 2011 (excluding group submissions) (Porter, 2012). This statistic

would suggest that interest and participation in the awards amongst females is strong.

Achievement amongst female prisoners is also high, representing around 9% of award

winners (Porter, 2012). Of just over 1,500 prizes awarded in 2012, 142 came from female

establishments (http://www.koestlertrust.org.uk/, 2012). In addition to this, 2012 exhibition

curator Sarah Lucas anonymously selected a total of 22 works by female prisoners for

display. These works made up 12% of the total number of selected works displayed in the

exhibition (http://www.koestlertrust.org.uk/, 2012). It is also encouraging to see that several

female offenders are gaining places on the Trust’s mentorship scheme and support is being

offered to them upon their release. Coupled with the internships/placements that they offer

to female ex-offenders it is a testament to the charity’s ethos and ideologies that they

provide real clarity and a pathway for rehabilitation beyond the prison walls.

Conclusions

What the women want

From indicators arising from the prisoner arts survey, it would appear that most respondents

were far more interested in pursuing creative interests as hobbies and past times, placing

less value on accreditation of courses and acquiring ‘enterprise’ skills. Many were

concerned with simply keeping themselves occupied whilst in prison. In terms of

progression and applying learnt skills outside of prison many women expressed an interest

in sharing them with others, including children. This notion in itself is a positive step towards

rehabilitation demonstrating a way to re-connect or restore relationships. Passing on a skill

or showing a piece of work demonstrates to other parties that a person has made good use

of their time, shown dedication and taken pride in something.

Gaps in the literature

As highlighted in the report ‘Reducing Re-offending: the Enterprise Option’ (Fletcher, 2004)

there are gaps in existing literature surrounding the success of social enterprise ventures

within prisons extending beyond the classroom. Prompting the questions, once their

sentences have ended, what support is out there for ex-offenders? This is an area that is

not well documented in terms of showing real results and proving that social enterprise is

working to rehabilitate. What’s more, there is a shortage of data regarding the successful

rehabilitation of female ex-offenders in this way. Whilst in prison the prisoner will benefit

from the network of support they will receive in the form of tutors, mentors, access to

facilities, workshops, courses and qualifications etc. Without a sustainable support network

outside of prison, all the good work demonstrated by the prisoner and their support team

could have been a wasted effort. What is most evident about the success of social

enterprise initiatives is the need for links to the outside world, whether this be in the shape of

industry links, mentors, financial advice and so on. The support network provided on the

outside is ultimately what facilitates or ‘completes’ the rehabilitation process.

Demonstrating success

Being able to enter competitions such as the Koestler Awards can keep a prisoner focused,

create healthy competition and ultimately gives them an incentive to work towards

something. For many prisoners setting goals for the future can seem very far off and

unattainable. There is a lot to be said for the promotion of self-satisfaction and gratification

awarded through the process of making something purely for pleasure or recreation. This

form of therapy can develop a person’s confidence and change their outlook, resulting in a

positive impact on all aspects of their life. Employability and work skills can be developed

through personal perception and awareness of capabilities, and this can often be achieved

by participation in the arts.

The statistics regarding the participation and achievement of female offenders to the

Koestler Awards supports the theory that engagement in the arts for the purposes of

wellbeing, enrichment, enlightenment and emotional benefit goes a long way to aid

rehabilitation. The Koestler Trust acts a good example of a provision for offenders that

exercises continuity in the rehabilitation process. Whether they enjoy success in the arts

upon release or not, all participants are able to take comfort in the knowledge that they have

achieved something by producing a piece of work, entering it into a nation wide competition

and receiving a certificate for the entry. For those that pursue mentorships and internships

there is support offered to them by the Trust and prison tutors throughout the journey, from

entering work, competing, winning awards, receiving continued support upon release and

potentially gaining employment.

In summary

For many people (ex-offenders or otherwise) the idea of self-employment or ‘starting

something up’ can be daunting and is often a long-winded and complicated process. Many

prisoners will view this idea as an unrealistic one unless the mind is independently focused

and a wealth of support inside and outside of prison is available. Aiming high is achievable

so long as the aims are realistic and the neccersary steps to achieve them can be put in

place. The rehabilitation process for female offenders may be hindered by the lack of person

centred learning and too greater emphasis on business venture, social enterprise and

employment. Of which these are often out of reach (for the immediate future) and in some

respects ‘inappropriate’ at that particular phase in time.

Rehabilitation of the individual extends far beyond the limitations of simply ‘finding a job’. It

encompasses the mind and how a person sees them self, others, and the world around

them. The prospect of employment may be a distant one but within reach once many other

steps have been taken to change a person’s perspective on their situation. Setting a person

up in a job or giving them the skills to start a business will not necessarily prevent that

person from reoffending. Employment (especially self employment) needs to be sustained

through commitment, determination and dedication. If these attributes of the rehabilitation

process have not been embedded it can affect the success and sustainability of assisting

people into work.

Future studies

As a result of this piece of research questions have been raised regarding other possible

lines of enquiry including: the disparity between male and female prison art provision and the

provision of arts education from female establishment to establishment. There is also scope

to expand on the subject area discussed in this paper in greater detail over a longer period

of time. Through sustained investigation comparable data could be sought from a number of

female institutions and contact could be made with a wider selection of prisoners.

Specific to the art department at YOI & HMP Bronzefield, measures could be taken to

monitor learner process upon a prisoner’s release. If a woman wishes to pursue creative

interests in regards to social enterprise or self-employment does the prison offer sufficient

provision for this? I.e. are there the right external contacts available? Are their sufficient

industry links? Does the art/education department need to work more closely with other

departments to support this within the provision to aid this process i.e. resettlement teams?

These are questioned that could be addressed and discussed in departmental meetings and

through the use of self-assessment reports.

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Sophie Nickeas

I am the senior art tutor at YOI & HMP Bronzefield, a closed female prison in Middlesex

privately managed by Sodexo Justice Services. Within my role I manage the provision of

creative studies, accredited arts courses and vocational areas within the prison. My

teaching area includes Fine Art, Jewellery Making, and the delivery of a PTLLS course

(Preparing to Teach in the Lifelong Learning Sector).