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Art therapy in a women's correctional facility
Art Psychotherapy.
Vol. 5 pp. 157-166,
Pergamon
Press. 1978.
Printed
ART THERAPY IN A WOMEN’S
in the U.S.A.
CORRECTIONAL
FACILITY*
BETTE LEVY, A.T.R. Director of Research, Bridgehaven Adj. Professor, Institute of Expressive Therapies University of Louisville
The following article describes an innovative art therapy program at Kentucky Correctional Institute for Women, a minimum and maximum security facility located in Pewee Valley, Kentucky. The program was designed to provide an alternative therapeutic resource for inmates previously untouched or unaffected by other modalities. The article, then, describes the evolution of a group comprised of aggressive, acting out and therapeutically unsophisticated women. By tracing specific sessions to analyze group process and dynamics, the article observes that previously untapped material may be made accessible by the tise of non-verbal techniques. It is apparent, then, that a prison population may be reachedand that change may, indeed, be effected. ***
In broad overview, a women’s prison can be seen as a supra-organism which exists as a conglomerate of all its individual parts, each individual resident of the facility having specific and immediate bearing on the functioning of the total entity. It is an amoeba-like organism that is striving at all times for equilibrium and, as such, is continually in an action-reaction state of flux. Seen in this light, interpretation of the overall dynamics of the penal institution can be expanded to coincide with Jung’s description of the evolving Ego. Primarily, a prison becomes an undifferentiated mass interspersed by nodal points of energy (actions of residents leading to reactions by staff; actions of staff to reactions by residents; actions of residents to reactions by residents, etc.) and headed., in many cases, by a “Great Mother” (female superintendent) who provides all. It is a realm of relatively dependent egos which, in contrast with the usual and probably more healthful need for development of independence, individuality and differentiation, have,
through their resistence, settled for a maintenance of the status quo or the dependent state. Individuals reject differentiation and independence from their primordial state of Bliss and, thus, avoid evolution to the Hero stage of development. This is the stage where individuals would have to fight the Mother who has become a “Terrible Mother” because of her over-protection, nutturance and holding back. Here, they would have to test and prove themselves. To avoid this, the Great Mother never becomes the Terrible Mother; restrictions and constraints serve as positives in their perceptions of her. The prison head, and so, too, other select staff are over-revered and respected; they become idealized love objects. At the same time, what also happens is that another prison figure-head quickly becomes the Terrible Father image. Residents feel persecuted by this person, hating him and, by increasing this negative valence, they can further pursue and perpetuate their Great Mother needs.
*Requests for reprints should be sent to Bette Levy, Director of Research, Bridgehaven, 1423 40208.
Ky.
0090-9092~8/0809-0157SO2.00/0 Copyright Q 1978 Pergamon Press, Inc.
South
Fourth
Street,
Louisville,
1.58
BETTE LEVY
This is, I believe, a revealing way to look at the macro-structure of a women’s correctional facility. That residents never evolve to the Terrible Mother state is manifested not just in the prison setting, but seems characteristic of their home lives as well. Apparently, the general rule is an ever-present mother and a weak, if not totally absent, father. I would imagine this is why this particular prison system works so well, since it reflects the previous home life. Too, the Great Mother and Terrible Father are synonymous with non-police and police. In other words, residents view the significant others as Good Guys and Bad Guys, non-police and police, Great Mother and Terrible Father. This dichotomy is present and maintained because it allows individuals to continue to be persecuted and victimized so as to rationalize and perpetuate needs for nurturance, dependence and protection. The setting at this type of institution certainly reflects that. All needs are provided for; food, shelter, work, comp~ionship, protection. It is an atmosphere where there is no need to take responsibility and it is easy to remain dependent. individuals are treated alike; other people make the rules and carry them out. In many cases, then, this environment provides the best possible solution for individuals’ unmet need satisfactions. Turning to a micro-level analysis - overall, residents have an abundance of childlike traits. Primary process seems the predominant mode of thought. Individuals act impulsively; postponement of gratification is anathema - deliberation, reality testing, logical and/or abstract thought are not evidenced to a large degree. They have tantrums, explosive tempers, demand proofs of love as well as hate, hold grudges, gossip. Their ways of remaining childlike and dependent are further by extensive game and role playing; playing weak, dull, helpless, tough, con person, vamp; all are very exaggerated and changeable - very much like children dressing up. At the same time, their positive qualities are just as sudden and extreme. They are quick to love and to respond, can be extremely cheerful, helpful, loyal and accessible.
BACKGROUND
AND GOALS
This is a women’s prison and it was into this environment that I introduced an art therapy program.
Kentucky Correctional Institution for Women (KCIW) is a minimum and maximum security facility located in Pewee Valley, Kentucky. About 120 women reside there and have available to them a variety of work training opportunities as well as some limited therapeutic access. Residents may participate in weekly group or individual sessions dealing with their drug, alcohol or other specific problems. As an art therapist, it was my intent to provide an alternate therapeutic service for individuals having difficulty (of a temporary or long-term nature) in adjusting to the specific correctional setting or, in a more generalized sense, to the society at large, dif~culties which were not being touched and alleviated by the existing therapeutic modalities. Primarily, my aims were to provide a relatively open environment in which residents did not have to obey rules, where they could make some of their own, where they could interact among themselves without surveillance, where they could achieve some level of individuaiity and independence and yet work together toward some mutual goal. I hoped to provide projects where individuals could play, lighten up and escape the reality of where they were and, yet, at other times, where they could get “heavy,” be real and recognize the reality of where they were, see new solutions and alternatives through insight as well as group sharing. Too, I wished to give them an opportunity to express themselves creatively, simply fulfill the need for creation, individual expression and release tension. More specifically, the creative arts and art therapy in particular may be utilized as an effective and meaningful resource for offenders by fulfilling a variety of behavior molding functions within the correctional setting. 1. The art milieu introduces the offender (on a group or individua1 level) to various problem-solving projects or situations wherein self-exploration and insight into solutions are encouraged and may be generalized to outside situations. Access to alternative behavior patterns, more appropriate methods of dealing with anxiety, anger, fear, etc., as well as increased coping abilities, are fostered. 2. The group, and ensuing therapeutic experience, provide an opportunity for necessary and respectful interaction among members, for assumed responsibility for one’s actions and for building trust and sharing personal experience. Working together toward a common and mutually satisfying goal is stressed. At the same time, individuality and independence (and
ART THERAPY
IN A WOMEN’S CORRECTIONAL
the concomittant increased ego strength) are reinforced. 3. The visual communication enacted through the various art experiences (both group and individual) can be useful for the trained therapist, the inmate and the institution as well. By examining the information and working in conjunction, the therapist and the offender can aim at the working through of conflicts and, on a larger scale, the correct intervention can be designed to hopefully divert the inmate from the correctional institution cycle. 4. In itself, the creative and artistic experience provides cathartic effects and can serve as an outlet or channeling for undesirable or inappropriate emotions as well as a source of self-discovery and reawakening of repressed feelings. 5. Too, art can provide an end in itself, an opportunity for individuals to express themselves, engage in the joy of creation and, thereby, attain a measure of self-worth and value. GENERAL DESCRIPTION OF THE GROUPS During the time I conducted art therapy sessions, a total of seven groups developed, each one differing significantly in composition, attendance, degree of involvement, depth of impact, dynamics, etc. Each group met once a week for about two hours. M~rnbe~~p was purely voluntary and composition of the groups was initially heterogeneous, the basis for joining was availability rather than friendship or commonality of problem. Over time, however, groups tended toward homogeneity, with individuals switching into other groups until a stasis was attained. Attendance was kept; any individual missing more than three sessions in succession was dropped. Size of the groups varied, averaging around eight individuals. I prefaced the sessions with a general introduction to art therapy and indicated that each group could go as far in depth as desired. With that in mind, each session was designed and specifically tailored for the individual group, its members, how far they wanted to go and occurrences in the institution at the time. Since the groups always reflected what was going on outside the artroom, it would have been impossible to ignore this. I usually provided a project for the group to work on and my involvement in the ensuing discussion varied, depending on the group openness or resistance. In groups that acted out, I confronted the defensive behavior as well as the noneparticipation in the project. I encouraged responsibility for one’s
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words, actions and artwork. At the same time, I encouraged individuals to confront me with their observations of my artwork and behavior. On those occasions when I contributed to the artwork, I shared my experiences, acting somewhat as a role model, especially for unfamiliar types of projects. Overall, I would say that these group sessions presented individuals with an approach-avoidance situation. The benefits of the art therapy (approach component) covered a broad spectrum. ranging from residents’ wanting to avoid work, have fun and have their attendance appear on their parole reports to a genuine desire for therapeutic gain. The negative or avoidance portion encompassed the unaccustomed emphasis on openness, sharing and assumed responsibility for one’s words, actions and artwork. DESCRIPTION OF A SPECIFIC GROUP Despite my initial desire to present a group comprised of “perfect ctients” with high levels of serious involvement, good attendance, frequent and/ or meaningful “clicks” during session, perceived positive and generalized effect outside the meetings, I have decided not to do so. I have chosen, on the other hand, to discuss a group composed of a difficult and therapeutically unsophisticated segment of the population. By comparison with the aforementioned group (whose members are far more likely to be members of drug, alcohol or other type therapy groups), the group to be presented had not previously been touched by other modalities of therapy. These were individuals who were highly resistant on many levels - to group cohesiveness, to personal reflection, sharing, to use of either intellectualism or emotionalism. To counter the ~stitution~s perpetuation of dependency (by treating individuals alike, by not giving them an opportunity to make their own decisions or rules, by determing completely what their lives would be like during their stay there) many individuals, and noticeably the ones in this group, tended to act out their need to assert themselves, These acting out characteristics, as will be discussed, were generally evidenced in the dynamics of the sessions as well as in the artwork. GROUP DYNAMICS Initially, the group tended to act in terms of its dichotomies; one segment operated from a more
BETTE
intellectual and feeling sphere and was comprised of individuals who could articulate seriously and were not as uncomfortable about sharing feelings. The other segment was made up of individuals who were uncomfortable about inteflectual aspects, couId not articulate, would not want to open up in front of others. They competed against the others. Although I originally perceived the acting out group to be denying and refuting my authority, what also was happening was that both groups were actually vying for my attention and approval, the first group by responding intellectually, by supporting me and performing well, the other by acting out, by resisting. It was the only way these individuals knew how to fight and was not so much a resistance against going into themselves, but rather a resistance against being shown up and succumbing to the other group. When, eventually, some members of the first group transferred into other groups, having virtually been driven out by the acting out of the others, the acting out segment no longer had to compete or act out as much. Behavior began to settle down and individuals could begin attending to themselves, their feelings and ideas more effectively. Granted, acting out behaviors still occurred significantly more frequently than in other groups; however, by the last session, individuals were beginning to open up, feel more confident about expressing their opinions and become personally involved. As the group became more cohesive, new members were not welcomed unreservedly. Beyond their more deveIoped ‘~therape~tic” level, those who transferred out of the group were also White and heterosexual. While their leaving, many controversial issues disappeared. Racial conflict and questions about sexuality and sexual competitiveness no longer had to be confronted and dealt with, While I would have preferred these individuals to remain so the issues could be dealt with, their presence would have alfowed the acting out and competitive behaviors to continue. The relative calm that followed their departure was conducive to a period of greater reflection for those who remained. PSYCHODYNAMiC PHENOMENA Acting out behaviors represented a transference reaction. Because f was initially perceived as an authority figure, individuais responded to me in the way they responded to previous authority figures (parents, teachers) as well as current authority figures
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(police, staff at KCIW). For this reason and since I was the one isolated person at the institution they were “permitted” to resist and confront, the early sessions were filled with much acting out. As the sessions progressed, I confronted individuals with the fact that this behavior was their traditional approach to authority and was not appropriate in this situation. Gradually, these behaviors changed as the sessions were no longer perceived as threatening in the old sense. Resistance was a si~i~cant phenomenon in the group. Whereas other groups mobilized more easily into areas of inner self, this group seemed primarily concerned with matters of power and control. Ability to keep others from seeing the softer, vulnerable aspects meant survival. Resistance was displayed by tardiness, absence, inappropriate joviality, silence, refusal to work, becoming therapist-surrogate and by dependency or over-evaluation of the therapist. Over time, this group evolved to the point where opening up became a more appropriate and conceivable survival technique. GROUP MEMBERS Toni was an attractive 20-year-old Black woman with a 20-year sentence for drugs. While she seemed to get into the play aspect of the sessions, Toni was strongly resistant to the more serious aspects. She manifested this by frequent silences, refusing to talk about feeling states other than with global remarks and by destruction of other people’s work. Doris (DeeDee, The Godfather) was a 26year-old bisexual Black woman with a 13-year-old daughter and two younger children. One of the predominant powers, DeeDee was verbally aggressive and disruptive in sessions. DeeDee faced two consecutive three-year sentences for grand larceny and had frequent stays in the cell block for homosexual or aggressive behavior. Her conflict over her sexuality was revealed by her fluctuating attire, sometimes wearing men’s clothing, sometimes women’s. Sharon was a 23-year-old White woman, married and with a child. She was serving a two-year sentence for larceny. Sharon was a passive individual who spoke infrequently and often let DeeDee talk for her, She appeared depressed and teary. Sue was a 20-year-old White woman with a five-year sentence for drugs. Like Sharon, she had been involved with DeeDee. Sue was of above average intelligence, college-educated and assumed
ART THERAPY
IN A WOMEN’S CORRECTIONAL
the role as my sidekick or surrogate. Sue played up to me by being my friend, helping me clean up and “performing” better than the others. Sue was one of the few paricipants who would discuss feelings and share insights. Jessica (Mr. Jessie) was a 21-year-old Black homosexual who usually wore men’s clothing and gave the appearance of being a cute teenage boy. Her involvement with homosexuality was longstanding and did not seem to present her with undue conflict although it did contribute to her frequent stays in the cell block. Jessie was facing a one-year sentence on a third-degree burglary charge. Sharon (Savage) was a sullen 20-year-old White homosexual facing successive 22 and three year sentences for armed robbery and escape. She had spent most of her life in some sort of correctional facility and was highly resistant to therapy (“brainpicking”). Savage’s attendance was sporadic due to frequent stays in cell blocks as well as coming only when she felt like it, that is, when she felt like avoiding work. Usually Savage did not work on the project the rest of the group was working on and when she did, she completed it quickly and matter of factly. Commentary was rote and nonemotional. Gloria was a 2%year-old unmarried Black woman with a seven-year sentence for forgery and drugs. She was quiet, frequently claimed to be depressed and wore a hang-dog expression. While she seemed moved by experiences in the sessions, she was reluctant to talk about them and seemed easily intimidated, especially by DeeDee. Ethel was a 32-year-old White Jewish woman facing a lo-month Federal sentence for a drug charge. She was sophisticated, educated and did not act out as the others; rather she got “spaced out.” Ethel operated somewhat outside the group because of her worldliness; the other individuals listened to her but didn”t interact particularly well. Jackie was a 24-year-old Black woman who seemed particularly sensitive and tuned into herself, being frequently moved to the point of tears. Vera was a late-joining member who talked out assertively and attempted to dominate. INDIVIDUAL
SESSIONS
Session I - The project was a name embellishment and was intended to be a warm-up and introduction to art therapy technique as well as an introduction to one another as group members. I asked that each
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person write her name on a piece of paper and decorate it so as to express some of her feelings about herself. The overall feel of this group was of people clamoring for attention, just wanting to put across the “criminal mask” and superficial aspects of their creative work. While there was much noise and free floating hostility, it wasn’t directed toward any one person. There was some scapegoating of the more intellectual members because they could get in touch with so’me feelings and express them more eloquently. The session carried an overall aura of a battleground. Jessie particularly enjoyed her work and, spontaneously, exuberantly, began to explain what she had done. One of the members mentioned that her initials were camouflaged and a discussion of masks and facades ensued; roles certainly are characteristic of this group. DeeDee went next. Her drawing consisted of a central area filed with drug paraphernalia and the corners with her family. When I remarked that it looked as if the drug part were pushing out the family, she denied this in a defensive and testy manner and said that it was the other way around. In reaction, DeeDee went on to describe Sue’s drawing for her. When given a chance, Sue managed to get her own words in and responded to her drawing thoughtfully. Her drawing reflected ability to deal with abstract thoughts and symbolism about the two primary concerns of her life: money and drugs. Jackie’s was a colorful, high school-like drawing of over-lapping cartoon letters with friends and family’s names in the comers. In strong contrast with the drawing, she became sad and teary when discussing it and insisted on taking the drawing with her. Sharon’s drawing did not contain her name, but a picture of a man with no ears; a man who, it later came out, didn’t come to visit, who didn’t “hear” her. I thought it significant that she chose to represent herself and introduce herself to the group by portraying another person; she tended to do this in group as well, letting others speak for her. She was reluctant to speak in this session, was very sad looking and agreed to anything that was said, to avoid having to deal with the painful subject. Ethel’s work was “just experimenting” she said, and she refused to allow that anything about her was being illustrated. Gloria’s work was two versions of her name, very lightly drawn in. Because she had to go for medication, we did not discuss her drawing. In later sessions, this tendency to leave when things started to touch her recurred.
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Session 2 - The project was an animal role play where participants were requested to design an animal to represent themselves and place it in an environment that had been created by the entire group. Because the nature of the tirst session was so divisive, I wanted to use this project to see how individuals could work on a combined effort (creating the environment) and how they would interact with one another (role-playing the animals). Again, there was chaos and acting out. DeeDee set herself up as head of the group. She seemed to be testing me, to see how far she could push. ~roughout the session, DeeDee demonstrated her hostility by enga~ng in a Pig Latin-like language (pimp Latin) which only a few of the group could understand. Interestingly, DeeDee chose a black bunny rabbit with a Godfather crown to represent herself. We discussed the incongruence not only of choosing a soft (female) creature for herself, but also placing a pink tail on ~_. the black animal (most of DeeDee’s women are White). This led to a discussion of opposites - the soft bunny who is really a superior fighter; DeeDee, the superior (male) fighter who is really a soft (female) bunny. DeeDee rejected most of this and addressed her role play to Jessie in reaffirmation of their shared maleness. When I didn’t respond to DeeDee’s using pig Latin or her disruptiveness by punishing or paying undue attention to her, she left the room. The group became more relaxed and congenial with her leaving. Gloria went next, but only after she had questioned me extensively about my background. She discussed her animal (a bee) and related to its flightiness. Her choice was significant in that she traditionally skirted around issues and sore spots. Toni described her canary as a creature with no cares - which seemed characteristic of her preception that no one else had any problems, only she. My animal was a walrus protected from DeeDee, who was next to me, by knife-like waves. Suspended above me was the playful, mischievous homed snake of Jessie which could wriggle in and out of many situations unscathed. Session 3 - The project was to draw youself as a small child and was designed to enable individuals to get in touch with those residual and perhaps unnecessary or inappropriate behaviors that have carried over to adulthood. Again, DeeDee monopolized the conversation, particularly during the drawing section. Other individuals were extremely involved in their drawings and paid her little mind so that she eventually settled down. When the drawings were finished, DeeDee again became boisterous. I con-
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fronted her with her need to challenge my authority as leader by being noisy, competitive and talking in another language, preventing others from talking for themselves; she denied this. Sue supported my observations and DeeDee verbally attacked her (and me, through attacking Sue). The energy level was high, threatening and, yet, was eventually reduced by talking it through. Again, I felt DeeDee was pushing me to see how far I would let her go. Interestingly, DeeDee became more thoughtful and reflective after the confrontation. The subsequent discussion was somewhat anti-climactic after the storm. DeeDee’s drawing was composed of other people, other events, rather than a picture of herself; Sue’s, was herself and her imaginary friend (this friend seems a protection against DeeDee who cannot understand this other friend she cannot see); Jessie’s, a male looking basketball player; Gloria’s, just a head, because as a child she considered herself fat and ugly; Ethel’s, an agreeable child with skinned knees; Jackie’s, herself playing at a favorite chiIdhood place. Savage had not done a drawing of herself as a child and stayed behind after session to talk with me. Her drawing reflected a great emptiness - her missing childhood and the words, “Today’s hidden emotion is tomorrow’s action.” Despite the tumult, the session ended with thanks from the members. Session 4 - The session was to create a clay self-image and was intended to enable individuals to get in touch with aspects of themselves using a medium which is primitive and regressive. As a result, some very gut level and basic responses were activated. This was an especially unruly session for the group; individuals were noisy, distractible and could not settle down. Behavior reflected the high level of unrest that was rampant in the institution at that time and which ultimately led to noticeable absences for the next three weeks due to cell block stays. Not being consciously aware of this, I used a project which tapped into frustrated and shaky feelings about self-image and angry feelings about KCIW. The clay products reflected their fury and feelings of powerlessness, being amorphous and globular non-shapes. Eventually, everyone had some sort of representation and the discussion started with Gloria’s handprint piece. Although Gloria seemed willing enough to discuss her work, there were many interruptions by other members who claimed that personal areas should not be touched. Savage, in particular, leapt to confront me. The remainder of the session was spent in heated debate about whether the group should
ART THERAPY
IN A WOMEN’S CORRECTIONAL
simply be a fun activity or whether it should be more inwardly directed. Eventually, members dwindled away, apologies were made - several members remained to discuss that the energy outside was contributing to the anger expressed in group - and the clay was heaped together. No products remained, but the massive representation of the group’s collective negative energy. Session 5 - Apparently feeling some residual anxiety about the confrontation, I chose as project for this session a more peaceful and enjoyable guided day dream. I chose this technique becuase it tends to reduce group energy (each person going on her own fantasy) and because results may be construed either as “fun” or may be used for more depthful endeavor. Too, art ability or lack of it is not an especially significant issue. In any case, all individuals have successful and commensurate experiences. The fantasy was a journey symbolizing one’s path through life, up a “self” mountain and meeting a wise man who bestows a gift to the wanderer. As usual, DeeDee was the last to settle down, opening her eyes frequently and checking out what was going on. Her tendency to test my authority had lessened somewhat; however, it was still an onguard situation, one of bated breath. DeeDee’s fantasy consisted of a long, tedious wish-fulfillment journey to the head security official of the prison who gave her and her followers their freedom. It was told in a matter-of-fact way as if it had been lived through many times in imagination. Sharon shared her fantasy next; it represented ; happy and easy trip to a general store with her children, her husband was the wise man and the gift, love; Gloria’s fantasy, a duplicated trip of one she had taken with her boyfriend; Jackie’s, a difficult trip alone, the wise man in a rocking chair, the gift, a rolled up newspaper that she didn’t open then, but promised she would open later. Overall, the session was effective in reducing the heightened energy level of previous weeks and participants enjoyed sharing their experiences. Session 6 - The project was a body tracing, each person doing two drawings, one representing the self presented to others, the other representing the real self. The energy generated during this session again reflected the growing anxiety and unrest in the institution at large. This energy culminated in the shakedown held the following day and manifested itself in this session by a general spaciness, a refusal to own up to things and the desire to leave the session. Initially, however, all four residents plunged right
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into the drawing with joviality and good spirits. As soon as the discussion segment began, this changed. Jessie had to leave (having been paged for disciplinary action) and the others seemed to want to leave as well. As had been the case, Gloria gave a super~~ial explanation of her drawing and asked to leave. I pointed out that her doing one drawing and saying she had only one self was an example of how she avoided revealing herself in general. She agreed and left. Jackie discussed hers and, typically, she was more inner-involved and reflective than the others, acknowledging her two selves, the flamboyant, smiling outer, the sensitive, soft inner. Toni had drawn two figures but wouldn’t discuss them, claiming the inner self was too ugly. While owning up to the sadness she was feeling, she would not go into it further and, when allowed an out (“Are you comfortable with leaving it there?“), she accepted and left the room. Session 7 - With the exception of three individuals, all other members were in cell block or sick. Gloria and Ethel arrived and since they didn’t want to attend session, I disbanded the group. DeeDee came next and announced that she wanted to cry. She spontaneously began to draw on the long sheet of paper that 1 had intended to use for the session. When Ethel and Gloria left, after having inscribed a message of consolation on the paper, DeeDee wanted to leave too. I told her that if she wanted to, she could stay. Surp~sin~y enough to me, she did and we had a private session. The session turned out to be a turning point in DeeDee’s relationship to me as well as to the group. She was very upset about a betrayal in the institution and we spent some time discussing this as well as other people’s mistaken impressions of her. She rued the fact that she had such a dominant personality and that people often didn’t realize that she had feelings too. She covered this aspect of her self well and it vas an unexpected introduction. Perhaps this was the drawing she couldn’t draw when the rest of the group was doing a name embellishment. I referred to the Godfather rabbit she had role-played earlier and we discussed the real relevance it held in her life. Session 8 - The Thursday prior to this session marked the occurrence of a series of group and population meetings. Despite the goal of such meetings being to engender communication between staff and residents, they serve more to accentuate the powerlessness and futility of the residents. Residents feel that the staff use these meetings to get informa-
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tion from them and not vice versa. To compensate for the frustration and to take advantage of the fact that it was an especially beautiful day, the project for this session was a group poem written outdoors. This type of poem is accomplished by each member contributing a line, passing the paper to the next person who writes her line and folds the paper over before passing it on. The only line that any individual sees is the line written by the person directly before her. It is a project that is fun and a good tension reducer as well. It also plays down the role of individuals and plays up the group energy and group whole. I thought it significant that this was one of the few sessions that DeeDee did not attend, that perhaps the novelty of sharing herself with another was uncomfortable and threatening for her. (The poetry is included at the end of the text.) Session 9 - The project for this session was a life-like drawing in which individuals use the paper to trace their life history, reflecting the past, present and future. As in previous sessions, the representations dealt with specific situations rather than feeling states. DeeDee attended the session. Her relationship to me was more gentle and sharing and I sensed real growth. Interesting that, at the point when the group seemed to have evolved to some level of cohesiveness, that a new member, Vera, joined and that the group united against her and her acting out. DeeDee, in particular, joined with me when I confronted Vera for disruptive behavior. As had been usual, DeeDee described her drawing first - a listing, year by year, of events - pointing out proudly and importantly when and where she went wrong. Jessie explained her drawing next. She seemed to have developed a great deal over the sessions, getting easily involved with the projects as well as being able to get in touch with feeling states to a degree she had not been able to earlier. Significantly, a good deal of the session comprised of DeeDee’s questioning Jessie about various aspects of her drawing. This was a novel and much more selfless role for DeeDee to engage in. Toni, Ethel and Savage discussed their drawings next. Their drawings were basically renditions of where they had been rather than how they had felt. The discussion dissolved to a lengthy diatribe about injustice and railroaded sentences. The heat of this session reflected the fear expressed by another staff member that that weekend might bring a riot. Epilogue - Subsequent to these sessions, I asked the group to represent how they felt about what had gone on over the previous three months in art therapy
sessions. Most of the individuals were reluctant to express themselves graphically. DeeDee. however, painted the following statement: “I didn’t give a damn. Now, I’ve gave myself and I’ve received a little. Thanks a lot. Love, I mean real love is all a person needs. Love, DeeDee.” CONCLUSIONS In an overall sense, I feel that all my goals were met. Individuals used these sessions as an outlet for bottled-up emotions, feelings and ideas which, either because of personal resistance or because of institutional impositions, could not be expressed freely. While often these emotions couldn’t be verbalized to any extensive degree, the artwork afforded individuals an opportunity to get in touch with those feelings, display them in graphic form and share the commonality of problems with one another. Communication and dialogue were, at least, considered in the therapy group as well as in the larger group and population meetings. Of some importance is the fact that cell block stays and disruptive behavior diminished significantly. From later session, I perceived a greater regard and empathy for one another as well as a growing need and willingness to talk about one’s inner self rather than one’s deeds. With regard to specific individuals, I sensed growth and greater awareness among all those who attended regularly. That individuals participated in these sessions afforded them a rather special place in the eyes of their colleagues as well as in thier own eyes. This factor, too, was nurturant. I realize that the introduction of this type of therapy has left many unanswered and unanswerable questions. The nature of the individuals operating within the prison system and the overall nature of the prison system itself, inhibit many essential goals. The individual is dependent, self-restricting; both the system and the individuals foster and perpetuate this characteristic. To instill self-initiation, independence, openness, trust and self-motivation without instilling the proper balance of self-control, foresight and appropriate reality-testing may be detrimental. That the art room can be a breeding ground, however, for this control and planning is apparent. That, too, the positive and long range qualities aforementioned (initiative, independence, etc.) may be attained, is, likewise, apparent. Because of my involvement, I believe change can be effected in an inmate population and in a manner
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which does not jeopardize the individual’s survival at the institution. I believe, too, that the capacity for generating alternative life styles and the human potential for learning can be stimulated. Hopefully, then, a prison resident can become less of a liability and more of an asset to herself, to her prison
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community and to the outside Moreover, these individuals can about themselves and others, sufficient and valuing and expect achieve more from life.
GROUP POEMS It’s such a lovely day The trees are blossoming and the sky is gray I couldn’t cry on a day like today I want to laugh, sing, be happy and gay All all people should be too It’s dark in my soul like 2 AM - Is it the same for you? Yes, full of darkness, from head to toe And a soul as black as pitch Don’t destroy me, take me out of this ditch Hey witch, what are you doing in the ditch? Just like everyone else, trying to get rich When you can’t catch a fish With a net made of mesh Brutal thorns in my flesh So I was told, but to me I know not I know what I know and the truth it is not The end of the world. Today is a pretty day And I’m feeling like flying to the sky Lord, please help me! Don’t let me die Help me do all I can We’ll help each other and make it through Me and you - we’ve paid our dues Don’t make us defy you, don’t make us choose Mind, oh, mind, what page are you on? The last page of the last book Is the end of the story Forever And ever Forever more, forever more, until the day Until, until the earth is gone and we go in search That leads to the utmost important day It makes the light shine and a mellow glow To love each other and hate we don’t show But sometimes things aren’t what we wish Whatever will be. will be.
of the way
My smile makes others smile and I love to smile, don’t you? Yes! It’s true, especially when I’m looking at you When it’s false, I’m looking off And thinking of other things The flowers, birds and fellow beings All of these are God’s created beings Creatures bright and beautiful
165 community as well. become more caring become more selfmore and be able to
166
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LEVY
Filled with wonder and delight with time I’m not guilty, I didn’t commit the time Who drop you that dime Not the man who did the crime When there no time To commit a crime Do all this time My life means more to me than for it to be longer Life is a cobweb, life is a dream That can flow over the rocks and stones I want to go home. I feel so alone.
than it has to be
These are my friends and I Iove them all Some are big. Some are small And some don’t have any size at all But they do have all kinds of colors and shapes And they all look different, none the same Who are they to judge us, we aren’t to blame Only things I have done are my responsibility But who shall I be responsible for? Of course, yourself Can go as far as you allow yourself to Give a helping hand, feel free to say I love you Love, love you do a thing to my mind It’s so heavenly, it must be God devined That’s keeping us from drinking the wine Which would be devine A lovely spring day and you so fine May I make you mine in mind? Yes, but I’d like to leave this poem unsigned. The leaves are brown and failing and crumbhng My mind is mixed up and my body is tumbling All I see and makes me bumble too I don’t know about the bumble, but I know I’11stumble Yes, through the whole thing It hurt my feelings But, what can I say? Or do to please you Please tease me, but don’t seize me Or decrease me Increase me Set me free So I may see, so I may live to do my thing So I may go on to create what I’ve designed Which ends up to be a sign Of good luck and hope for tomorrow And leave behind sick, sadness and sorrow And leave a life of happiness as we wish for tomorrow That brings joy of that day.
through
Vol. 5 pp. 157-166,
Pergamon
Press. 1978.
Printed
ART THERAPY IN A WOMEN’S
in the U.S.A.
CORRECTIONAL
FACILITY*
BETTE LEVY, A.T.R. Director of Research, Bridgehaven Adj. Professor, Institute of Expressive Therapies University of Louisville
The following article describes an innovative art therapy program at Kentucky Correctional Institute for Women, a minimum and maximum security facility located in Pewee Valley, Kentucky. The program was designed to provide an alternative therapeutic resource for inmates previously untouched or unaffected by other modalities. The article, then, describes the evolution of a group comprised of aggressive, acting out and therapeutically unsophisticated women. By tracing specific sessions to analyze group process and dynamics, the article observes that previously untapped material may be made accessible by the tise of non-verbal techniques. It is apparent, then, that a prison population may be reachedand that change may, indeed, be effected. ***
In broad overview, a women’s prison can be seen as a supra-organism which exists as a conglomerate of all its individual parts, each individual resident of the facility having specific and immediate bearing on the functioning of the total entity. It is an amoeba-like organism that is striving at all times for equilibrium and, as such, is continually in an action-reaction state of flux. Seen in this light, interpretation of the overall dynamics of the penal institution can be expanded to coincide with Jung’s description of the evolving Ego. Primarily, a prison becomes an undifferentiated mass interspersed by nodal points of energy (actions of residents leading to reactions by staff; actions of staff to reactions by residents; actions of residents to reactions by residents, etc.) and headed., in many cases, by a “Great Mother” (female superintendent) who provides all. It is a realm of relatively dependent egos which, in contrast with the usual and probably more healthful need for development of independence, individuality and differentiation, have,
through their resistence, settled for a maintenance of the status quo or the dependent state. Individuals reject differentiation and independence from their primordial state of Bliss and, thus, avoid evolution to the Hero stage of development. This is the stage where individuals would have to fight the Mother who has become a “Terrible Mother” because of her over-protection, nutturance and holding back. Here, they would have to test and prove themselves. To avoid this, the Great Mother never becomes the Terrible Mother; restrictions and constraints serve as positives in their perceptions of her. The prison head, and so, too, other select staff are over-revered and respected; they become idealized love objects. At the same time, what also happens is that another prison figure-head quickly becomes the Terrible Father image. Residents feel persecuted by this person, hating him and, by increasing this negative valence, they can further pursue and perpetuate their Great Mother needs.
*Requests for reprints should be sent to Bette Levy, Director of Research, Bridgehaven, 1423 40208.
Ky.
0090-9092~8/0809-0157SO2.00/0 Copyright Q 1978 Pergamon Press, Inc.
South
Fourth
Street,
Louisville,
1.58
BETTE LEVY
This is, I believe, a revealing way to look at the macro-structure of a women’s correctional facility. That residents never evolve to the Terrible Mother state is manifested not just in the prison setting, but seems characteristic of their home lives as well. Apparently, the general rule is an ever-present mother and a weak, if not totally absent, father. I would imagine this is why this particular prison system works so well, since it reflects the previous home life. Too, the Great Mother and Terrible Father are synonymous with non-police and police. In other words, residents view the significant others as Good Guys and Bad Guys, non-police and police, Great Mother and Terrible Father. This dichotomy is present and maintained because it allows individuals to continue to be persecuted and victimized so as to rationalize and perpetuate needs for nurturance, dependence and protection. The setting at this type of institution certainly reflects that. All needs are provided for; food, shelter, work, comp~ionship, protection. It is an atmosphere where there is no need to take responsibility and it is easy to remain dependent. individuals are treated alike; other people make the rules and carry them out. In many cases, then, this environment provides the best possible solution for individuals’ unmet need satisfactions. Turning to a micro-level analysis - overall, residents have an abundance of childlike traits. Primary process seems the predominant mode of thought. Individuals act impulsively; postponement of gratification is anathema - deliberation, reality testing, logical and/or abstract thought are not evidenced to a large degree. They have tantrums, explosive tempers, demand proofs of love as well as hate, hold grudges, gossip. Their ways of remaining childlike and dependent are further by extensive game and role playing; playing weak, dull, helpless, tough, con person, vamp; all are very exaggerated and changeable - very much like children dressing up. At the same time, their positive qualities are just as sudden and extreme. They are quick to love and to respond, can be extremely cheerful, helpful, loyal and accessible.
BACKGROUND
AND GOALS
This is a women’s prison and it was into this environment that I introduced an art therapy program.
Kentucky Correctional Institution for Women (KCIW) is a minimum and maximum security facility located in Pewee Valley, Kentucky. About 120 women reside there and have available to them a variety of work training opportunities as well as some limited therapeutic access. Residents may participate in weekly group or individual sessions dealing with their drug, alcohol or other specific problems. As an art therapist, it was my intent to provide an alternate therapeutic service for individuals having difficulty (of a temporary or long-term nature) in adjusting to the specific correctional setting or, in a more generalized sense, to the society at large, dif~culties which were not being touched and alleviated by the existing therapeutic modalities. Primarily, my aims were to provide a relatively open environment in which residents did not have to obey rules, where they could make some of their own, where they could interact among themselves without surveillance, where they could achieve some level of individuaiity and independence and yet work together toward some mutual goal. I hoped to provide projects where individuals could play, lighten up and escape the reality of where they were and, yet, at other times, where they could get “heavy,” be real and recognize the reality of where they were, see new solutions and alternatives through insight as well as group sharing. Too, I wished to give them an opportunity to express themselves creatively, simply fulfill the need for creation, individual expression and release tension. More specifically, the creative arts and art therapy in particular may be utilized as an effective and meaningful resource for offenders by fulfilling a variety of behavior molding functions within the correctional setting. 1. The art milieu introduces the offender (on a group or individua1 level) to various problem-solving projects or situations wherein self-exploration and insight into solutions are encouraged and may be generalized to outside situations. Access to alternative behavior patterns, more appropriate methods of dealing with anxiety, anger, fear, etc., as well as increased coping abilities, are fostered. 2. The group, and ensuing therapeutic experience, provide an opportunity for necessary and respectful interaction among members, for assumed responsibility for one’s actions and for building trust and sharing personal experience. Working together toward a common and mutually satisfying goal is stressed. At the same time, individuality and independence (and
ART THERAPY
IN A WOMEN’S CORRECTIONAL
the concomittant increased ego strength) are reinforced. 3. The visual communication enacted through the various art experiences (both group and individual) can be useful for the trained therapist, the inmate and the institution as well. By examining the information and working in conjunction, the therapist and the offender can aim at the working through of conflicts and, on a larger scale, the correct intervention can be designed to hopefully divert the inmate from the correctional institution cycle. 4. In itself, the creative and artistic experience provides cathartic effects and can serve as an outlet or channeling for undesirable or inappropriate emotions as well as a source of self-discovery and reawakening of repressed feelings. 5. Too, art can provide an end in itself, an opportunity for individuals to express themselves, engage in the joy of creation and, thereby, attain a measure of self-worth and value. GENERAL DESCRIPTION OF THE GROUPS During the time I conducted art therapy sessions, a total of seven groups developed, each one differing significantly in composition, attendance, degree of involvement, depth of impact, dynamics, etc. Each group met once a week for about two hours. M~rnbe~~p was purely voluntary and composition of the groups was initially heterogeneous, the basis for joining was availability rather than friendship or commonality of problem. Over time, however, groups tended toward homogeneity, with individuals switching into other groups until a stasis was attained. Attendance was kept; any individual missing more than three sessions in succession was dropped. Size of the groups varied, averaging around eight individuals. I prefaced the sessions with a general introduction to art therapy and indicated that each group could go as far in depth as desired. With that in mind, each session was designed and specifically tailored for the individual group, its members, how far they wanted to go and occurrences in the institution at the time. Since the groups always reflected what was going on outside the artroom, it would have been impossible to ignore this. I usually provided a project for the group to work on and my involvement in the ensuing discussion varied, depending on the group openness or resistance. In groups that acted out, I confronted the defensive behavior as well as the noneparticipation in the project. I encouraged responsibility for one’s
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words, actions and artwork. At the same time, I encouraged individuals to confront me with their observations of my artwork and behavior. On those occasions when I contributed to the artwork, I shared my experiences, acting somewhat as a role model, especially for unfamiliar types of projects. Overall, I would say that these group sessions presented individuals with an approach-avoidance situation. The benefits of the art therapy (approach component) covered a broad spectrum. ranging from residents’ wanting to avoid work, have fun and have their attendance appear on their parole reports to a genuine desire for therapeutic gain. The negative or avoidance portion encompassed the unaccustomed emphasis on openness, sharing and assumed responsibility for one’s words, actions and artwork. DESCRIPTION OF A SPECIFIC GROUP Despite my initial desire to present a group comprised of “perfect ctients” with high levels of serious involvement, good attendance, frequent and/ or meaningful “clicks” during session, perceived positive and generalized effect outside the meetings, I have decided not to do so. I have chosen, on the other hand, to discuss a group composed of a difficult and therapeutically unsophisticated segment of the population. By comparison with the aforementioned group (whose members are far more likely to be members of drug, alcohol or other type therapy groups), the group to be presented had not previously been touched by other modalities of therapy. These were individuals who were highly resistant on many levels - to group cohesiveness, to personal reflection, sharing, to use of either intellectualism or emotionalism. To counter the ~stitution~s perpetuation of dependency (by treating individuals alike, by not giving them an opportunity to make their own decisions or rules, by determing completely what their lives would be like during their stay there) many individuals, and noticeably the ones in this group, tended to act out their need to assert themselves, These acting out characteristics, as will be discussed, were generally evidenced in the dynamics of the sessions as well as in the artwork. GROUP DYNAMICS Initially, the group tended to act in terms of its dichotomies; one segment operated from a more
BETTE
intellectual and feeling sphere and was comprised of individuals who could articulate seriously and were not as uncomfortable about sharing feelings. The other segment was made up of individuals who were uncomfortable about inteflectual aspects, couId not articulate, would not want to open up in front of others. They competed against the others. Although I originally perceived the acting out group to be denying and refuting my authority, what also was happening was that both groups were actually vying for my attention and approval, the first group by responding intellectually, by supporting me and performing well, the other by acting out, by resisting. It was the only way these individuals knew how to fight and was not so much a resistance against going into themselves, but rather a resistance against being shown up and succumbing to the other group. When, eventually, some members of the first group transferred into other groups, having virtually been driven out by the acting out of the others, the acting out segment no longer had to compete or act out as much. Behavior began to settle down and individuals could begin attending to themselves, their feelings and ideas more effectively. Granted, acting out behaviors still occurred significantly more frequently than in other groups; however, by the last session, individuals were beginning to open up, feel more confident about expressing their opinions and become personally involved. As the group became more cohesive, new members were not welcomed unreservedly. Beyond their more deveIoped ‘~therape~tic” level, those who transferred out of the group were also White and heterosexual. While their leaving, many controversial issues disappeared. Racial conflict and questions about sexuality and sexual competitiveness no longer had to be confronted and dealt with, While I would have preferred these individuals to remain so the issues could be dealt with, their presence would have alfowed the acting out and competitive behaviors to continue. The relative calm that followed their departure was conducive to a period of greater reflection for those who remained. PSYCHODYNAMiC PHENOMENA Acting out behaviors represented a transference reaction. Because f was initially perceived as an authority figure, individuais responded to me in the way they responded to previous authority figures (parents, teachers) as well as current authority figures
LEVY
(police, staff at KCIW). For this reason and since I was the one isolated person at the institution they were “permitted” to resist and confront, the early sessions were filled with much acting out. As the sessions progressed, I confronted individuals with the fact that this behavior was their traditional approach to authority and was not appropriate in this situation. Gradually, these behaviors changed as the sessions were no longer perceived as threatening in the old sense. Resistance was a si~i~cant phenomenon in the group. Whereas other groups mobilized more easily into areas of inner self, this group seemed primarily concerned with matters of power and control. Ability to keep others from seeing the softer, vulnerable aspects meant survival. Resistance was displayed by tardiness, absence, inappropriate joviality, silence, refusal to work, becoming therapist-surrogate and by dependency or over-evaluation of the therapist. Over time, this group evolved to the point where opening up became a more appropriate and conceivable survival technique. GROUP MEMBERS Toni was an attractive 20-year-old Black woman with a 20-year sentence for drugs. While she seemed to get into the play aspect of the sessions, Toni was strongly resistant to the more serious aspects. She manifested this by frequent silences, refusing to talk about feeling states other than with global remarks and by destruction of other people’s work. Doris (DeeDee, The Godfather) was a 26year-old bisexual Black woman with a 13-year-old daughter and two younger children. One of the predominant powers, DeeDee was verbally aggressive and disruptive in sessions. DeeDee faced two consecutive three-year sentences for grand larceny and had frequent stays in the cell block for homosexual or aggressive behavior. Her conflict over her sexuality was revealed by her fluctuating attire, sometimes wearing men’s clothing, sometimes women’s. Sharon was a 23-year-old White woman, married and with a child. She was serving a two-year sentence for larceny. Sharon was a passive individual who spoke infrequently and often let DeeDee talk for her, She appeared depressed and teary. Sue was a 20-year-old White woman with a five-year sentence for drugs. Like Sharon, she had been involved with DeeDee. Sue was of above average intelligence, college-educated and assumed
ART THERAPY
IN A WOMEN’S CORRECTIONAL
the role as my sidekick or surrogate. Sue played up to me by being my friend, helping me clean up and “performing” better than the others. Sue was one of the few paricipants who would discuss feelings and share insights. Jessica (Mr. Jessie) was a 21-year-old Black homosexual who usually wore men’s clothing and gave the appearance of being a cute teenage boy. Her involvement with homosexuality was longstanding and did not seem to present her with undue conflict although it did contribute to her frequent stays in the cell block. Jessie was facing a one-year sentence on a third-degree burglary charge. Sharon (Savage) was a sullen 20-year-old White homosexual facing successive 22 and three year sentences for armed robbery and escape. She had spent most of her life in some sort of correctional facility and was highly resistant to therapy (“brainpicking”). Savage’s attendance was sporadic due to frequent stays in cell blocks as well as coming only when she felt like it, that is, when she felt like avoiding work. Usually Savage did not work on the project the rest of the group was working on and when she did, she completed it quickly and matter of factly. Commentary was rote and nonemotional. Gloria was a 2%year-old unmarried Black woman with a seven-year sentence for forgery and drugs. She was quiet, frequently claimed to be depressed and wore a hang-dog expression. While she seemed moved by experiences in the sessions, she was reluctant to talk about them and seemed easily intimidated, especially by DeeDee. Ethel was a 32-year-old White Jewish woman facing a lo-month Federal sentence for a drug charge. She was sophisticated, educated and did not act out as the others; rather she got “spaced out.” Ethel operated somewhat outside the group because of her worldliness; the other individuals listened to her but didn”t interact particularly well. Jackie was a 24-year-old Black woman who seemed particularly sensitive and tuned into herself, being frequently moved to the point of tears. Vera was a late-joining member who talked out assertively and attempted to dominate. INDIVIDUAL
SESSIONS
Session I - The project was a name embellishment and was intended to be a warm-up and introduction to art therapy technique as well as an introduction to one another as group members. I asked that each
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161
person write her name on a piece of paper and decorate it so as to express some of her feelings about herself. The overall feel of this group was of people clamoring for attention, just wanting to put across the “criminal mask” and superficial aspects of their creative work. While there was much noise and free floating hostility, it wasn’t directed toward any one person. There was some scapegoating of the more intellectual members because they could get in touch with so’me feelings and express them more eloquently. The session carried an overall aura of a battleground. Jessie particularly enjoyed her work and, spontaneously, exuberantly, began to explain what she had done. One of the members mentioned that her initials were camouflaged and a discussion of masks and facades ensued; roles certainly are characteristic of this group. DeeDee went next. Her drawing consisted of a central area filed with drug paraphernalia and the corners with her family. When I remarked that it looked as if the drug part were pushing out the family, she denied this in a defensive and testy manner and said that it was the other way around. In reaction, DeeDee went on to describe Sue’s drawing for her. When given a chance, Sue managed to get her own words in and responded to her drawing thoughtfully. Her drawing reflected ability to deal with abstract thoughts and symbolism about the two primary concerns of her life: money and drugs. Jackie’s was a colorful, high school-like drawing of over-lapping cartoon letters with friends and family’s names in the comers. In strong contrast with the drawing, she became sad and teary when discussing it and insisted on taking the drawing with her. Sharon’s drawing did not contain her name, but a picture of a man with no ears; a man who, it later came out, didn’t come to visit, who didn’t “hear” her. I thought it significant that she chose to represent herself and introduce herself to the group by portraying another person; she tended to do this in group as well, letting others speak for her. She was reluctant to speak in this session, was very sad looking and agreed to anything that was said, to avoid having to deal with the painful subject. Ethel’s work was “just experimenting” she said, and she refused to allow that anything about her was being illustrated. Gloria’s work was two versions of her name, very lightly drawn in. Because she had to go for medication, we did not discuss her drawing. In later sessions, this tendency to leave when things started to touch her recurred.
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Session 2 - The project was an animal role play where participants were requested to design an animal to represent themselves and place it in an environment that had been created by the entire group. Because the nature of the tirst session was so divisive, I wanted to use this project to see how individuals could work on a combined effort (creating the environment) and how they would interact with one another (role-playing the animals). Again, there was chaos and acting out. DeeDee set herself up as head of the group. She seemed to be testing me, to see how far she could push. ~roughout the session, DeeDee demonstrated her hostility by enga~ng in a Pig Latin-like language (pimp Latin) which only a few of the group could understand. Interestingly, DeeDee chose a black bunny rabbit with a Godfather crown to represent herself. We discussed the incongruence not only of choosing a soft (female) creature for herself, but also placing a pink tail on ~_. the black animal (most of DeeDee’s women are White). This led to a discussion of opposites - the soft bunny who is really a superior fighter; DeeDee, the superior (male) fighter who is really a soft (female) bunny. DeeDee rejected most of this and addressed her role play to Jessie in reaffirmation of their shared maleness. When I didn’t respond to DeeDee’s using pig Latin or her disruptiveness by punishing or paying undue attention to her, she left the room. The group became more relaxed and congenial with her leaving. Gloria went next, but only after she had questioned me extensively about my background. She discussed her animal (a bee) and related to its flightiness. Her choice was significant in that she traditionally skirted around issues and sore spots. Toni described her canary as a creature with no cares - which seemed characteristic of her preception that no one else had any problems, only she. My animal was a walrus protected from DeeDee, who was next to me, by knife-like waves. Suspended above me was the playful, mischievous homed snake of Jessie which could wriggle in and out of many situations unscathed. Session 3 - The project was to draw youself as a small child and was designed to enable individuals to get in touch with those residual and perhaps unnecessary or inappropriate behaviors that have carried over to adulthood. Again, DeeDee monopolized the conversation, particularly during the drawing section. Other individuals were extremely involved in their drawings and paid her little mind so that she eventually settled down. When the drawings were finished, DeeDee again became boisterous. I con-
LEVY
fronted her with her need to challenge my authority as leader by being noisy, competitive and talking in another language, preventing others from talking for themselves; she denied this. Sue supported my observations and DeeDee verbally attacked her (and me, through attacking Sue). The energy level was high, threatening and, yet, was eventually reduced by talking it through. Again, I felt DeeDee was pushing me to see how far I would let her go. Interestingly, DeeDee became more thoughtful and reflective after the confrontation. The subsequent discussion was somewhat anti-climactic after the storm. DeeDee’s drawing was composed of other people, other events, rather than a picture of herself; Sue’s, was herself and her imaginary friend (this friend seems a protection against DeeDee who cannot understand this other friend she cannot see); Jessie’s, a male looking basketball player; Gloria’s, just a head, because as a child she considered herself fat and ugly; Ethel’s, an agreeable child with skinned knees; Jackie’s, herself playing at a favorite chiIdhood place. Savage had not done a drawing of herself as a child and stayed behind after session to talk with me. Her drawing reflected a great emptiness - her missing childhood and the words, “Today’s hidden emotion is tomorrow’s action.” Despite the tumult, the session ended with thanks from the members. Session 4 - The session was to create a clay self-image and was intended to enable individuals to get in touch with aspects of themselves using a medium which is primitive and regressive. As a result, some very gut level and basic responses were activated. This was an especially unruly session for the group; individuals were noisy, distractible and could not settle down. Behavior reflected the high level of unrest that was rampant in the institution at that time and which ultimately led to noticeable absences for the next three weeks due to cell block stays. Not being consciously aware of this, I used a project which tapped into frustrated and shaky feelings about self-image and angry feelings about KCIW. The clay products reflected their fury and feelings of powerlessness, being amorphous and globular non-shapes. Eventually, everyone had some sort of representation and the discussion started with Gloria’s handprint piece. Although Gloria seemed willing enough to discuss her work, there were many interruptions by other members who claimed that personal areas should not be touched. Savage, in particular, leapt to confront me. The remainder of the session was spent in heated debate about whether the group should
ART THERAPY
IN A WOMEN’S CORRECTIONAL
simply be a fun activity or whether it should be more inwardly directed. Eventually, members dwindled away, apologies were made - several members remained to discuss that the energy outside was contributing to the anger expressed in group - and the clay was heaped together. No products remained, but the massive representation of the group’s collective negative energy. Session 5 - Apparently feeling some residual anxiety about the confrontation, I chose as project for this session a more peaceful and enjoyable guided day dream. I chose this technique becuase it tends to reduce group energy (each person going on her own fantasy) and because results may be construed either as “fun” or may be used for more depthful endeavor. Too, art ability or lack of it is not an especially significant issue. In any case, all individuals have successful and commensurate experiences. The fantasy was a journey symbolizing one’s path through life, up a “self” mountain and meeting a wise man who bestows a gift to the wanderer. As usual, DeeDee was the last to settle down, opening her eyes frequently and checking out what was going on. Her tendency to test my authority had lessened somewhat; however, it was still an onguard situation, one of bated breath. DeeDee’s fantasy consisted of a long, tedious wish-fulfillment journey to the head security official of the prison who gave her and her followers their freedom. It was told in a matter-of-fact way as if it had been lived through many times in imagination. Sharon shared her fantasy next; it represented ; happy and easy trip to a general store with her children, her husband was the wise man and the gift, love; Gloria’s fantasy, a duplicated trip of one she had taken with her boyfriend; Jackie’s, a difficult trip alone, the wise man in a rocking chair, the gift, a rolled up newspaper that she didn’t open then, but promised she would open later. Overall, the session was effective in reducing the heightened energy level of previous weeks and participants enjoyed sharing their experiences. Session 6 - The project was a body tracing, each person doing two drawings, one representing the self presented to others, the other representing the real self. The energy generated during this session again reflected the growing anxiety and unrest in the institution at large. This energy culminated in the shakedown held the following day and manifested itself in this session by a general spaciness, a refusal to own up to things and the desire to leave the session. Initially, however, all four residents plunged right
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into the drawing with joviality and good spirits. As soon as the discussion segment began, this changed. Jessie had to leave (having been paged for disciplinary action) and the others seemed to want to leave as well. As had been the case, Gloria gave a super~~ial explanation of her drawing and asked to leave. I pointed out that her doing one drawing and saying she had only one self was an example of how she avoided revealing herself in general. She agreed and left. Jackie discussed hers and, typically, she was more inner-involved and reflective than the others, acknowledging her two selves, the flamboyant, smiling outer, the sensitive, soft inner. Toni had drawn two figures but wouldn’t discuss them, claiming the inner self was too ugly. While owning up to the sadness she was feeling, she would not go into it further and, when allowed an out (“Are you comfortable with leaving it there?“), she accepted and left the room. Session 7 - With the exception of three individuals, all other members were in cell block or sick. Gloria and Ethel arrived and since they didn’t want to attend session, I disbanded the group. DeeDee came next and announced that she wanted to cry. She spontaneously began to draw on the long sheet of paper that 1 had intended to use for the session. When Ethel and Gloria left, after having inscribed a message of consolation on the paper, DeeDee wanted to leave too. I told her that if she wanted to, she could stay. Surp~sin~y enough to me, she did and we had a private session. The session turned out to be a turning point in DeeDee’s relationship to me as well as to the group. She was very upset about a betrayal in the institution and we spent some time discussing this as well as other people’s mistaken impressions of her. She rued the fact that she had such a dominant personality and that people often didn’t realize that she had feelings too. She covered this aspect of her self well and it vas an unexpected introduction. Perhaps this was the drawing she couldn’t draw when the rest of the group was doing a name embellishment. I referred to the Godfather rabbit she had role-played earlier and we discussed the real relevance it held in her life. Session 8 - The Thursday prior to this session marked the occurrence of a series of group and population meetings. Despite the goal of such meetings being to engender communication between staff and residents, they serve more to accentuate the powerlessness and futility of the residents. Residents feel that the staff use these meetings to get informa-
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tion from them and not vice versa. To compensate for the frustration and to take advantage of the fact that it was an especially beautiful day, the project for this session was a group poem written outdoors. This type of poem is accomplished by each member contributing a line, passing the paper to the next person who writes her line and folds the paper over before passing it on. The only line that any individual sees is the line written by the person directly before her. It is a project that is fun and a good tension reducer as well. It also plays down the role of individuals and plays up the group energy and group whole. I thought it significant that this was one of the few sessions that DeeDee did not attend, that perhaps the novelty of sharing herself with another was uncomfortable and threatening for her. (The poetry is included at the end of the text.) Session 9 - The project for this session was a life-like drawing in which individuals use the paper to trace their life history, reflecting the past, present and future. As in previous sessions, the representations dealt with specific situations rather than feeling states. DeeDee attended the session. Her relationship to me was more gentle and sharing and I sensed real growth. Interesting that, at the point when the group seemed to have evolved to some level of cohesiveness, that a new member, Vera, joined and that the group united against her and her acting out. DeeDee, in particular, joined with me when I confronted Vera for disruptive behavior. As had been usual, DeeDee described her drawing first - a listing, year by year, of events - pointing out proudly and importantly when and where she went wrong. Jessie explained her drawing next. She seemed to have developed a great deal over the sessions, getting easily involved with the projects as well as being able to get in touch with feeling states to a degree she had not been able to earlier. Significantly, a good deal of the session comprised of DeeDee’s questioning Jessie about various aspects of her drawing. This was a novel and much more selfless role for DeeDee to engage in. Toni, Ethel and Savage discussed their drawings next. Their drawings were basically renditions of where they had been rather than how they had felt. The discussion dissolved to a lengthy diatribe about injustice and railroaded sentences. The heat of this session reflected the fear expressed by another staff member that that weekend might bring a riot. Epilogue - Subsequent to these sessions, I asked the group to represent how they felt about what had gone on over the previous three months in art therapy
sessions. Most of the individuals were reluctant to express themselves graphically. DeeDee. however, painted the following statement: “I didn’t give a damn. Now, I’ve gave myself and I’ve received a little. Thanks a lot. Love, I mean real love is all a person needs. Love, DeeDee.” CONCLUSIONS In an overall sense, I feel that all my goals were met. Individuals used these sessions as an outlet for bottled-up emotions, feelings and ideas which, either because of personal resistance or because of institutional impositions, could not be expressed freely. While often these emotions couldn’t be verbalized to any extensive degree, the artwork afforded individuals an opportunity to get in touch with those feelings, display them in graphic form and share the commonality of problems with one another. Communication and dialogue were, at least, considered in the therapy group as well as in the larger group and population meetings. Of some importance is the fact that cell block stays and disruptive behavior diminished significantly. From later session, I perceived a greater regard and empathy for one another as well as a growing need and willingness to talk about one’s inner self rather than one’s deeds. With regard to specific individuals, I sensed growth and greater awareness among all those who attended regularly. That individuals participated in these sessions afforded them a rather special place in the eyes of their colleagues as well as in thier own eyes. This factor, too, was nurturant. I realize that the introduction of this type of therapy has left many unanswered and unanswerable questions. The nature of the individuals operating within the prison system and the overall nature of the prison system itself, inhibit many essential goals. The individual is dependent, self-restricting; both the system and the individuals foster and perpetuate this characteristic. To instill self-initiation, independence, openness, trust and self-motivation without instilling the proper balance of self-control, foresight and appropriate reality-testing may be detrimental. That the art room can be a breeding ground, however, for this control and planning is apparent. That, too, the positive and long range qualities aforementioned (initiative, independence, etc.) may be attained, is, likewise, apparent. Because of my involvement, I believe change can be effected in an inmate population and in a manner
ART THERAPY
IN A WOMEN’S CORRECTIONAL
which does not jeopardize the individual’s survival at the institution. I believe, too, that the capacity for generating alternative life styles and the human potential for learning can be stimulated. Hopefully, then, a prison resident can become less of a liability and more of an asset to herself, to her prison
FACILITY
community and to the outside Moreover, these individuals can about themselves and others, sufficient and valuing and expect achieve more from life.
GROUP POEMS It’s such a lovely day The trees are blossoming and the sky is gray I couldn’t cry on a day like today I want to laugh, sing, be happy and gay All all people should be too It’s dark in my soul like 2 AM - Is it the same for you? Yes, full of darkness, from head to toe And a soul as black as pitch Don’t destroy me, take me out of this ditch Hey witch, what are you doing in the ditch? Just like everyone else, trying to get rich When you can’t catch a fish With a net made of mesh Brutal thorns in my flesh So I was told, but to me I know not I know what I know and the truth it is not The end of the world. Today is a pretty day And I’m feeling like flying to the sky Lord, please help me! Don’t let me die Help me do all I can We’ll help each other and make it through Me and you - we’ve paid our dues Don’t make us defy you, don’t make us choose Mind, oh, mind, what page are you on? The last page of the last book Is the end of the story Forever And ever Forever more, forever more, until the day Until, until the earth is gone and we go in search That leads to the utmost important day It makes the light shine and a mellow glow To love each other and hate we don’t show But sometimes things aren’t what we wish Whatever will be. will be.
of the way
My smile makes others smile and I love to smile, don’t you? Yes! It’s true, especially when I’m looking at you When it’s false, I’m looking off And thinking of other things The flowers, birds and fellow beings All of these are God’s created beings Creatures bright and beautiful
165 community as well. become more caring become more selfmore and be able to
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LEVY
Filled with wonder and delight with time I’m not guilty, I didn’t commit the time Who drop you that dime Not the man who did the crime When there no time To commit a crime Do all this time My life means more to me than for it to be longer Life is a cobweb, life is a dream That can flow over the rocks and stones I want to go home. I feel so alone.
than it has to be
These are my friends and I Iove them all Some are big. Some are small And some don’t have any size at all But they do have all kinds of colors and shapes And they all look different, none the same Who are they to judge us, we aren’t to blame Only things I have done are my responsibility But who shall I be responsible for? Of course, yourself Can go as far as you allow yourself to Give a helping hand, feel free to say I love you Love, love you do a thing to my mind It’s so heavenly, it must be God devined That’s keeping us from drinking the wine Which would be devine A lovely spring day and you so fine May I make you mine in mind? Yes, but I’d like to leave this poem unsigned. The leaves are brown and failing and crumbhng My mind is mixed up and my body is tumbling All I see and makes me bumble too I don’t know about the bumble, but I know I’11stumble Yes, through the whole thing It hurt my feelings But, what can I say? Or do to please you Please tease me, but don’t seize me Or decrease me Increase me Set me free So I may see, so I may live to do my thing So I may go on to create what I’ve designed Which ends up to be a sign Of good luck and hope for tomorrow And leave behind sick, sadness and sorrow And leave a life of happiness as we wish for tomorrow That brings joy of that day.
through