Lesley Currier

Rehabilitative arts programs expand to 18 state prisons

Published in Blog, Social Justice / Prison Programs

Rehabilitative arts programs expand to 18 state prisons

Lesley Currier, Managing Director of the Marin Shakespeare Company, joins San Quentin State Prison inmates onstage for their play “Theater of War.”

CDCR, California Arts Council announce this year’s funding recipients

Photos and story by Krissi Khokhobashvili, CDCR Public Information Officer

The arts have long been a catalyst for communication and human growth, from etchings on cave walls to magnificent paintings on chapels to plays whose themes allow vastly different audiences to find common ground.

The return of Arts-in-Corrections to state prisons has enabled professional artists throughout California to share their skills with inmates, teaching new techniques and skills while also encouraging communication and creativity. Arts-in-Corrections is a partnership of the California Department of Corrections and Rehabilitation (CDCR) and the California Arts Council (CAC) to bring structured, rehabilitative arts programming inside the walls of state prisons.

Now in its second year, Arts-in-Corrections offers programs in painting, drawing, theater, music, dance and writing, all with a focus on the healing power of art and how artistic skills can translate into valuable life and job skills.

“Since the revitalization of the Arts-in-Corrections program, many positive changes have been reported from our institutions,” said CDCR Secretary Jeff Beard. “These rehabilitative arts programs are teaching inmates new skills while also providing an outlet for emotional growth and self-reflection.”

“Theater of War” included performances of songs written by incarcerated veterans.

One of the 10 organizations to receive funding this year is the Marin Shakespeare Company, which for 12 years has brought theater to San Quentin State Prison (SQSP), teaching inmates not only the process of staging a full-length Shakespeare production, but also empowering incarcerated men to express themselves in positive ways.

This year, under the direction of Marin Shakespeare’s Lesley Schisgall Currier and Suraya Keating, SQSP inmates from the group Veterans Healing Veterans from the Inside Out created an autobiographical play exploring the challenges of returning home from military service, and why so many veterans commit suicide.

“It takes a lot of courage to participate in the military, particularly in combat,” Currier said. “It takes another kind of courage to stand up in front of a group and tell your story in this way.”

The men presented their play, “Theater of War,” to an audience of staff, fellow inmates and representatives from outside veterans’ organizations. The audience was openly moved by the performance, which drew on the men’s own experiences to paint a portrait of what it’s like to transition from service to society, and to be a veteran in prison.

“I have been in those shoes – I understand those shoes. I’ve felt what they are feeling,” said Ava-Marie Jones, a Disabled Veteran Outreach Program Representative for the California Employment Development Department. “I can understand where you guys are. I see people like you every single day – I respect what you have just done, in the realm of who you are.”

“Theater of War” tackled issues from life-changing and tragic decisions made during combat and reuniting with family after war to the challenges of dealing with mountains of benefit paperwork. Ron Self, a decorated Marine incarcerated at San Quentin, founded Veterans Healing Veterans in 2012 to provide a safe space for incarcerated veterans to deal with those issues and many more.

“I’ve never participated in something where I can actually say I know people who said they didn’t commit suicide because of a program, and that has happened in this program,” Self shared during a Q&A after the performance.

“This program has been a way for me to help express myself,” said Isiah Daniels, “and to help those outside the military understand who I am.”

Several cast members did not have prior military experience, but volunteered their time to help the cause. Currier said although it was a learning curve for non-military members, including herself, it was ultimately healing for all involved, and created a deeper understanding of incarcerated veterans.

“Hearing these stories, and knowing that there are many more stories, and being able to help be the catalyst for the catharsis that can happen when we share our stories, is why I’ve been coming to this prison every week,” Currier said.

Pharaoh Brooks, center, as Julius Caesar, is surrounded by his soon-to-be betrayers.

San Quentin is not the only prison Currier and other volunteers travel to. For the better part of nine months, she and drama therapist Lynn Baker spent Saturdays with inmates at California State Prison-Solano (SOL) in Vacaville, preparing for the prison’s first-ever Shakespeare productions. Their work culminated in two performances, “Macbeth” and “Julius Caesar,” and the Shakespeare at Solano program has been re-funded so its work can continue. Sign-ups for the next productions will begin in August.

“Growing up, I’d never been a part of anything like this before. I always wanted to do something that was considered ‘regular,’” said Joseph Jackson, who portrayed Mark Anthony in “Caesar,” adding that it was a big challenge to get up on stage and perform. “This gives me an opportunity to put myself out there, push through that fear and just do the best that I can.”

The Shakespeare program starts with several weeks of reading and analyzing the plays, teaching participants about the language and stagecraft of William Shakespeare. Even though the plays were written hundreds of years ago, the men in the program were quickly able to draw parallels between centuries-old scenes and their current situations.

“This is the first time that I’ve ever stood on the outside of a murder or betrayal and actually had a chance to consider and think deeply about it,” shared Donel Johnson, who played Cicero. “Sometimes, when you’re in the midst of certain things, you don’t really process it because you’re a part of it … when we can actually look at crimes like that, actually think about how wrong that is, that’s a powerful thing.”

“I believe that we all have darkness inside of ourselves, and that we all as human beings benefit from being able to express ourselves and to find our creative selves, whether it’s as a visual artist or an actor or a musician,” Currier said. “And the world’s a better place when we can let our creativity and our ability to communicate flourish.”

(Editor’s note: Some websites may not be accessible from a CDCR computer.)

Arts-in-Corrections Service Providers

To learn more about Arts-in-Corrections, visit http://arts.ca.gov/initiatives/aic.php.

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Dramaturg Mary Ann Koory on “Cymbeline” – Spring Lingo

Published in From Dramaturg Dr. Mary Ann Koory, Mainstage Plays

Spring Lingo

I think Shakespeare loved lingos; he used them dramatically to show us who characters think they are, and he loved them in themselves for their strange and beautiful words.

If he were still around, he would surely have appreciated one unexpectedly entertaining consequence of the trial of the venture capital firm Kleiner Perkins Caufield & Byers for discrimination against plaintiff Ellen Pao: the chance to scrutinize the specialized language that the tech industry uses.

At one point, a member of the jury posed a question to a witness, a senior partner in the firm, about his lingo. What is the difference, the juror asked, between a “thought leader” and an “expert”?

The answer? There is no significant difference between a “thought leader” and an “expert,” except for the need for a glamorous, self-involved industry to set itself apart. Geoffrey Nunberg, a linguist who teaches at UC Berkeley’s School of Information, explained why the tech industry tends to have its own words for perfectly ordinary concepts like “expert.” They prefer jargon, Nunberg said, with words that sound like “something grander than the things that everyone else is doing.”

Whether or not being a techie is grander than being everyone else, creating a “lingo,” specialized language or jargon unintelligible to those outside a group, is a common — one might even say ordinary — way for a group to signal its exclusivity. Think of teenagers. Or the military. Or lawyers.

The practice is probably as old as language is: I can easily imagine the hunter-gatherers speaking loftily and obscurely about Wooly Mammoths to stay-at-home cave men and women.

Luckily for them, there were no Neanderthal lawyers. Yet.

One lingo-using target of Shakespeare’s satire was the courtier and his flowery, hyperbolic speech.

In Twelfth Night, for instance, Cesario greets Olivia with this nonsensical flourish: “Most excellent accomplished lady, the heavens rain odours on you.” Sir Andrew Aguecheek, a social-climbing dolt, is impressed: “That youth’s a rare courtier; ‘rain odours’ – well.” (TN, 3.1.76-79)

In As You Like It, the jester Touchstone asserts his higher status as a courtier to the rustics in the Forest of Arden. You might remember the speech below from last summer’s production, delivered with hilarious intensity by Adam Roy as Touchstone:

Therefore you clown, abandon – which is in the vulgar, “leave” – the society – which in the boorish is “company” – of this female — which in the common is “woman”; which together is, abandon the society of this female, or, clown, thou perishes; or, to thy better understanding, diest; or, to wit, I kill thee, make thee away, translate thy life into death, thy liberty into bondage. I will deal in poison with thee, or in bastinado, or in steel. I will bandy with thee in faction, I will o’errun thee with policy. I will kill you thee a hundred and fifty ways. Therefore, tremble and depart. (AYLI, 5.1.43-52)

Touchstone’s rhetoric is designed to defeat poor illiterate William without actual violence. The speech contains ten different synonyms for murder and ends with a threat to kill him in a hundred and fifty different ways. It is an example of linguistic — forgive me — overkill.

In Cymbeline, as you’ll see this summer at the Forest Meadows Amphitheatre [http://www.marinshakespeare.org/pages/ticketorder.php], Iachimo, an egotist, uses courtier-speak for self-display, even when the occasion calls for simple communication. At a tense moment in the action, Cymbeline asks him to explain what happened between Posthumous and him. Iachimo begins:

Upon a time – unhappy was the clock
That struck the hour – it was in Rome — accursed
The mansion where – ‘twas at a feast – O, would
Our viands had been poisoned, or at least
Those which I heaved to head! – the good Posthumous –
What should I say?
(Cym, 5.6.153-58)

Six lines and he hasn’t even finished a sentence yet. You can imagine our juror later asking Iachimo, “What is the difference between ‘viands’ and ‘food’? Is ‘heaving’ them to your ‘head’ the same as ‘eating’?”

16th-century European courtiers spoke in a style that was designed to demonstrate, with every extended metaphor and fancy synonym, that its speaker was extraordinary, a superior sort of person who doesn’t indulge in mundane activities like eating dinner. Courtly lingo asserts the same social and intellectual superiority that techspeak signals for its hoodie-wearing 21st-century practitioners.

When Shakespeare is not using lingo to skewer the self-aggrandizement of its speakers, he seems to delight in the strange and lovely terms specific to a microcosm. In Henry IV, Part I, Prince Hal announces that he has just spent a few hours with bartenders and, as we would call them in our politically correct terminology, “food service workers” at the Boar’s Head Tavern. The Prince gleefully shows off the colorful jargon of professional drinkers he has learned:

“They call drinking ‘deep dying scarlet,’ and when you breathe in your watering they cry ‘Hem!’ and bid you ‘Play it off!’ To conclude, I am so good a proficient in one quarter of an hour that I can drink with any tinker in his own language during my life.” (1Hen4, 2.5.14-17)

There doesn’t seem to be any regal condescension in this moment: Hal genuinely likes the feel of the new words in his mouth.

I think Shakespeare, poet, actor and playwright, speaks momentarily here through Hal, the consummate role-player. Shakespeare must have taken professional pride in picking up various lingos – of tinkers, bartenders, lawyers, sailors, doctors, and courtiers – and poetic pleasure in putting them in the mouths of his characters.

Source: http://www.sfgate.com/bayarea/article/Ellen-Pao-trial-is-guide-to-Silicon-Valley-jargon-6153775.php