Creative Programs in Prison: Healing, Transformation, and the Call for Post-Release Support

The article details creative prison programs, specifically the Songbirds music program at Adelaide Women's Prison (AWP), and the associated documentary "Songs Inside." While these programs aim to foster healing and transformation among incarcerated individuals, experts and participants question their effectiveness in breaking the cycle of incarceration without robust post-release support.

The Songbirds Program and "Songs Inside" Documentary

The Songbirds music program involved 12 inmates at AWP, mentored by singer-songwriter Nancy Bates, who guided them in creating music from their personal experiences. Eight participants performed with the Adelaide Symphony Orchestra in an event reportedly the largest ever held in an Australian jail. The program and its participants are documented in the award-winning film "Songs Inside," written, directed, and produced by Shalom Almond, Katrina Lucas, and Lauren Drewery. The film seeks to challenge negative perceptions of incarcerated women and advocate for systemic change.

Since its 2024 debut, "Songs Inside" has been screened over 60 times in Australian communities and prisons. Program participants, known as Songbirds, including Erin and Fabiann, frequently speak at these screenings, sharing their experiences both during incarceration and after release.

Erin and Fabiann, who were released from AWP during or shortly after the program, regularly gathered with fellow Songbirds over four-and-a-half months in 2023. During these sessions, Bates provided music instruction, and the women composed songs based on their lives. Both individuals report personal growth and self-discovery as a result of the program. Fabiann indicated that "Songs Inside" has illuminated the underlying factors contributing to lack of improvement among incarcerated individuals, pointing to issues such as addiction, trauma, unemployment, and housing insecurity upon release.

Challenges of Re-entry

Despite the creative program and ongoing support from the "Songs Inside" team, participants face significant difficulties upon re-entering society. Fabiann stated that she lost everything during incarceration and was released "with nothing but the clothes on her back." She has since secured housing, works part-time, is studying social work, and participates in tours for "Songs Inside" screenings, crediting the team's support for her current stability.

Fabiann: "I lost everything during incarceration and was released with nothing but the clothes on her back."

Erin's mid-program release, documented in the film, involved her leaving AWP with only a sleeping bag and facing homelessness. She later obtained temporary housing with Almond's assistance but experienced the instability of transitional housing. Erin emphasized the critical need for increased post-release support, including housing, employment opportunities, and mental health services. She suggested that adequate investment in rehabilitation and transition support could significantly reduce recidivism.

Expert Perspectives and Systemic Issues

Shalom Almond, the documentary's director, acknowledged the therapeutic value of music programs but stated that music alone is insufficient to overcome complex challenges like addiction, trauma, and housing shortages faced by women post-release.

The article notes that the number of adult women incarcerated in Australia increased by almost one-third over the past decade, with Aboriginal and Torres Strait Islander women being disproportionately represented. Australian reoffending rates indicate that 53.6 percent of adults return to corrective services within two years; in South Australia, this figure is 36.8 percent. South Australia's Department for Correctional Services stated it offers programs providing community-based accommodation and reintegration support aimed at reducing recidivism.

Dr. Mindy Sotiri, executive director of the Justice Reform Initiative (JRI), commented that films like "Songs Inside" inform both incarcerated individuals and the public about the causes of incarceration. She emphasized the importance of individuals maintaining control over their personal narratives.

Joanna Erskine, who oversees Bell Shakespeare's Youth Justice Program, described a different approach where participants explore experiences through Shakespearean works without direct self-disclosure, fostering confidence and critical thinking skills. This program does not track reoffending rates but measures skill development.

Flinders University criminology lecturer Jeremy Ryder observed that creative prison programs are uncommon and often susceptible to cancellation. He contrasted them with traditional programs focused on "criminogenic risks and needs," asserting that creative programs build confidence, strength, and skills, helping individuals form new identities.

The Need for Comprehensive Support

All individuals involved in the article, including participants and experts, generally agreed that creative programs have limitations. Dr. Sotiri noted that the absence of post-release support can make the transition even more challenging for participants. Dr. Ryder summarized this perspective:

"A ukulele can only get you so far when you don't have a job, and insecure housing."

Continuing Advocacy and Future Plans

Erin and Fabiann intend to continue using their lived experiences to advocate for change and assist others. Erin is pursuing a certificate in women's advocacy, while Fabiann plans to complete her social work studies and establish a peer support program for inmates. The Songbirds music program is expected to resume at AWP, and Almond plans to use the documentary as an educational tool.