Artist Spotlight: “In the Box” with Kenneth Reams

This month, we are highlighting artist, poet, activist, public speaker, and nonprofit founder Kenneth Reams. We were lucky to connect with Kenny through his work with the Prison Story Project. Kenny was one of the 11 men incarcerated on Arkansas Death Row who wrote PSP’s “On the Row,” a film that JAC screened with our Create+Connect series back in May. After getting to know Kenny and his work, we were honored to host a workshop with him on June 25. Kenny shared his story and thoughts on racism, the injustice of the ‘justice’ system, and capital punishment, and told us how he manages to be such a prolific and powerful creator from his solitary confinement cell, which he calls “the box.”

Kenneth "Artist927" Reams
Kenneth “Artist 927” Reams by Kenneth Reams

Kenny is a visual artist– he draws, paints, collages, sculpts– and a poet, though he enjoys and appreciates all forms of art and media: music, movies, and dance. Anything that tells a story. Kenny says he creates with the objective of educating the public about the criminal justice system, and of changing some of the issues in society that he has seen from his position in solitary confinement.

It’s a different picture watching society from solitary confinement than being in society. On the sidelines you get to see the picture a little different.

 

Kenny has been in solitary confinement and on death row for close to 30 years. “Over

Solitary
“Solitary”

half my life, over half my life I’ve been on death row now,” Kenny says. He was sentenced to death at just 18 years old for his involvement in a robbery, with his friend, who shot and killed the victim. Kenny and his friend were trying to get money to pay $40 for his cap and gown for high school graduation. Although he was not directly responsible for the death, he was charged with murder and asked to take a plea for a Life without Parole sentence. Feeling the injustice of this, Kenny refused the plea and went to trial. Represented by an overworked public defender, Kenny faced what he understands to be an unfair trial, decided by a nearly all-white jury. He was found guilty and sentenced to death. Though his death sentence was recently commuted after long legal battles, Kenny is still incarcerated on death row in solitary confinement.

Kenny’s experiences of the injustice of the criminal legal system prompted him to learn more and fight for change, even from solitary confinement. When he was first incarcerated, he “didn’t realize [he] was an activist.” As his own consciousness grew, Kenny realized that many people did not know, understand, or care about these issues. And so he sought out ways to raise awareness; one way is through his art.

He also co-founded Who Decides Inc, a nonprofit organization which aims to educate the public on the history and current reality of capital punishment in the United States. He envisions a national museum to “talk about the history of what we have been doing in America when it comes to capital punishment.” Kenny clarifies: “This is not an institution… where we try to tell people to think about the death penalty in certain ways, this will just be us keeping the history of this alive for generations to come. Whether we have the death penalty in 50 years or not, we should have an institution built in this country on the history of the death penalty, whether you are for it or against it. Because these things are things that shape our views.” The museum will be about the “history and effects” of the death penalty, presented through different forms of art.

Kenny has managed to get his perspective, vision, and voice out into the world beyond the walls of solitary confinement, but he recognizes that not everyone in his position is able to do the same. “I am only one of thousands,” he says. Kenny wants us to begin to “have these conversations openly, have them through art.” We were honored to be part of such conversation, and are looking forward to future collaborations with Kenneth.

Please read and sign Kenneth’s petition, and view his art on his site here. All art included in this blog is from his website. You can also find out more about his nonprofit, Who Decides Inc. here.

 

 

 

 

 

 

 

Teaching Artist Spotlight: Elia Enid Cadilla

We recently talked with Elia Cadilla, our newest addition to the Teaching Artist Spotlight series. Elia has done research for the FILIUS Institute, part of the School of Medicine of the University of Puerto Rico (among other projects, a study about the effect of theater in the rehabilitation process of female convicts.) Cadilla teaches Acting for Film and TV at the University of Sacred Heart, and directs the Department of Corrections and Rehabilitation Theater Program since late 2001. Elia speaks on the current effects of pandemic on carceral settings, the role of the arts and radical empathy during this time period, and the ways in which she believes the intersection of creation and justice might help to improve our collective societies.

  JACAs we navigate this unprecedented time across our national landscape, what challenges have emerged in your work with artists, specifically those who are impacted by the criminal justice system?

EC: This is a complex question, with a complex answer. The main negative effect is frustration, both for the ones who are still inmates, as for the ones already free. Ironically enough, the situation – in terms of sheer survival – can be more dire for the ones out of prison than for the ones inside. The ones still incarcerated have food, lodging, medical attention. We’ve had to help out several of the women outside through our non profit, which is NGO, because many didn’t have the necessary tools to handle this situation. Many times they have to accept the most menial jobs, which don’t have benefits such as health insurance, for even though unemployment benefits have been extended for people who don’t usually receive them, some don’t have the tools to navigate the system, or lack a proper ID, and so on and so forth. On the other hand, those inside the prison are experiencing a type of incarceration they had left behind when they joined the theater group, mixed with a new restriction, which is the lack of family visits to prevent contagion. They communicate with their loved ones by phones provided by the Department but lack, of course, physical contact. However, in my communications with members of the group, I find there is a general understanding that this affects the whole population, not just them, and that these restrictions have managed to keep them healthy. They have access to information from outside, and are aware that some prisons in other states and countries have horrific stories going on. That doesn’t detract from their desire to go out and do their work, and see their families, but it makes it less hard to bear. The males of the Correctional Theater reside in a correctional institute that houses programs with certain privileges, and they’re concentrated right now in exercising to stay in acting form, and writing new ideas to work on as soon as we can resume our activities. The females reside in an area of the women’s prison, and are not as well organized as the men. This responds to patterns established in their own communities, and is one of the situations we deal with in the Program, but it’s a work in progress. The net result is that it’s easier for the men to manage their frustration at their inability to perform their job as actors and educators, but in general they are all coping, because they have something to look forward to.

JAC: What action do you feel is necessary to alleviate the safety concerns that incarcerated people face, in light of the Coronavirus crisis?

EC: All prisons should have a robust health system, access to prompt medical care, and a crisis management capacity that has been sadly lacking in many prisons, both stateside and in many countries, from what I infer from the different news leaking out of some facilities, and from what transpired in our zoom meeting this past week. As far as what action is needed, I can refer to our own experience here. The minute the magnitude of the covid threat to health was ascertained, on March 13, the Secretary of the PR Department of Correction and Rehabilitation ordered a lockdown eliminating access to all civilians not indispensable for vital operations, with an organized plan that included checking temperatures of any indispensable personnel before allowing access to the institutions, with observation and testing in place, established correctional officers’ shifts rotation, preventive isolation of any possible source of contagion, such as inmates that had to go to hospital, and upon return were quarantined until proven clean. It hasn’t been easy. A lot of people have had to work remote to ensure safe conditions for the inmates, but it has worked. All our inmates are covid-free. The 2 that pop up in statistics are two juveniles who came in already contaminated, were isolated at once and treated. If you have that kind of preventive crisis protocols, all concerns will not go away, of course; families will still want to see their loved ones and send them things, etc., but the bottom line here is we have to protect the lives of incarcerated people and stop the virus spread. A good management plan, such as instituted here in Puerto Rico, will accomplish that. Of course, nothing in the world is foolproof and we might have some cases in the future, but the situation has been managed successfully, so far.

JAC: As you know, the JAC is focused on ways in which art can connect those in the prison system with those on the outside. How has this relationship been jeopardized by COVID-19? How have you been keeping connections active during this time?

EC: It’s very difficult to balance safety with social connectivity in such a dangerous scenario as covid-19 presents for an incarcerated population; heck, it’s very difficult for the rest, non-captive population, with a great deal of stress and psychological damage taking its toll on a lot of people. The theater’s usual chores have literally, been one alleviating factor that has contributed to helping them cope. They have kept on writing, exercising, inventing alternatives to keep on with their acting through virtual strategies, etc. They recently sent me a proposal to perform by some platform through the sergeant, but it was one I had already presented to the administration. Regardless, I’m sending it also, in support of the already proposed tactic, but I’m conscious that getting it implemented will take some time. We’ve kept in touch through several avenues. One, their families. Even though not all inmates have a supporting, caring family, quite a few more than usual do when it comes to the theater group. This is because we foster family relations in different ways: we try to have relatives assist activities at open venues: theaters, for example, where anyone can attend. Usually the Secretary or the Sub Secretary (both very favorable, through the years, to the Theater Program) attends such an activity, and up to the very last one, they have authorized at the end of the performance relatives getting close to the inmates and congratulating them, hugs and expressions of affection included. The pride in families when they see their previously errant relative standing on a theater stage, applauded for their artistic work and their honesty (for the plays often depict the route that led them behind bars, and their reflection and repentance as well), have many times created a new bond of communication and respect between the inmate and his/her family. I try to keep in touch with those families that respond positively, and also with what are called “counseling friends” – people from all walks of life that decide to sponsor an inmate and give them some of emotional support and even sometimes some financial assistance for their more immediate needs, such as depositing money for their phone calls (which are very expensive, as we all know), and other urgent things. Two, our own team – the correctional officers and the penal case worker who see them during their shifts, let me know how they are coping, and advise them while at the same time letting them know what I’m doing to keep the Program going during this time. Three, I keep in touch with the commander of the institution, who is very favorable to the Theater Program (because they have an excellent behavior in and out of the institution, and help out in anything needed, plus keep their living quarters immaculate – part of their theatrical discipline) and with whom I maintain an open communication.

JAC: The JAC, as it grows, will continue to seek out and implement a vision of how to better support teaching artists. In your view, what does a supportive network need to include?

 EC: Knowledge. Powerful networking. Funding. Not necessarily in that order. Funding is probably of the first order. Regardless of our commitment, our reptilian brain commands us to survive – food, lodging, health needs are fundamental. Most artists have never been the most savvy when it comes to making money a priority (first-hand knowledge speaks). But when the urge to survive slaps you in the face, it’s a must needs that has to be addressed immediately. And there the powerful networking and the knowledge comes in. We have to be able to identify possible sources of funding. People with the knowledge of where to find accessible grants, interested philanthropic or high profile personalities that can attract them, people with knowledge to create platforms that attract a lot of traffic and hence, support through the acquisition of high visibility… I can go on, but they are the same rules I have applied as a producer to my own productions in the past, and these are all very connected. You need one to get the other, and so we reach the egg and hen dilemma. If we all pool our resources together, the goals will move forward faster.

JAC: What has been the most rewarding part of your experience working with incarcerated artists?

EC: No contest there: to see how their lives change completely. Even before they are able to go home free, they change. I’ve seen people who came from being drug dealers, prostitutes, addicts, gunners for the punto (the drug dealing business), thieves, car hijackers, you name it, become actors, artisans, writers, preachers even, for even though I do not participate myself in organized religion I do applaud the ones who look for it in order to deal with their past lives, as sometimes they need to feel God has forgiven them, and so they can forgive themselves and start anew. I keep track of many of my ex students. They send me information about their new lives, jobs, mates, homes, etc., and it’s a source of joy that we all share with each member of the support group and with other inmates that look up to the ones that have made it, and see in them that they can make it, too.

JAC: As our art networks look to the future, how do you hope the Coronavirus pandemic, as well as this period of isolation, alters the public’s understanding of the justice system?

EC: One of the jokes (we use humor a lot in the Program, in order to cope) we have shared within the Program has been: well, now a lot of people know how it feels to be trapped in a cell, to not be able to walk down the street when you feel like it. We’ve discussed how this new awareness can maybe change the way some people view incarcerated people, and perhaps influence lawmaking in some way or other. If you ask my personal opinion, I feel we have a long way ahead. The US has less than 5% of the world population and yet it has  22% of the world’s imprisoned population, far ahead of several totalitarian regimens. There is too much feeling of “otherness” towards imprisoned persons, and I firmly believe that we can change that through the arts, for I have seen it happen here in our system. When I began, almost 19 years ago (and I had already had a close look at the system though volunteer work with imprisoned youth), the officers almost uniformly disliked the Theater Program. What helped me in the beginning was that I was a well-known and respected artist, and so the manifestations tended to be polite in general, but there were also quite a few not-so-polite ones. Now (even though there’s still rejection from some quarters), we have no problem getting officers who want to be part of the Program and it’s actually a coveted position. Very soon some people who were skeptical about theater in prison saw the change in attitudes and behavior and recognized it as a positive movement towards rehabilitation and many became advocates of what the arts could do to change lives.

JAC: How did you become involved in this work? What was your path to where you are today?

EC: It’s funny how you manage to ask a question that sounds simple but its answer is anything but. It’s been a long road. I believe free will and fate coexist happily, thank you very much. Early in my career, my looks (then), would get me TV bimbo and femme fatale roles time and again, but I felt a very strong pull towards social theater and the minute a very respected theater director, Victoria Espinosa, cast me in a one-woman show as an aging, run-down prostitute (I was still very young, and so it was a fantastic characterization for me, which are my favorite roles), and got rave reviews for it, someone asked me to do it in a low-income residential project. From then on, somehow, I would get offered opportunities to work with low-income, high risk populations, both in PR and when I moved to NY. There I lived 8 years, and I found myself splitting time between acting in theater, TV and doing some film work, but giving a lot of my time to social theater. I taught at the Human Solidarity Institute (mostly to immigrants), ASPIRA – to disadvantaged youth, and the New Federal Theater, at the Henry St. Settlement Playhouse, almost always with disadvantaged populations. When we returned to PR for family reasons, after several years in high-profile work in TV stations and theaters, I eventually gravitated once again towards teaching high-risk behavior populations, and when the then Secretary of Correction and Rehabilitation looked for someone to teach at the women’s prison, it was almost by default that my name came up. The first year there were 4 teachers – 3 males actors working with the male population and I with the females. One year later I was the only one left, and wound up directing the whole project.

Elia co-authored an article for an arbitrated publication (IRB approved), about a small-scale (3 subjects sample) research study on how and why theater can be a rehabilitation tool. Below is that article.

CORRECTIONAL THEATER PROGRAM 2020

People can learn more about Elia’s work at:
Facebook: Elia Enid Cadilla
Twitter: @EliaEnidCadilla

 

Actress, producer, director and writer, Elia Enid Cadilla has represented Puerto Rico in film and theater festivals. Cadilla was Chairperson of the first Cultures of the Third World Symposium at the United Nations, and has received honors and awards for her work in several fields of endeavors. She was a member of the Board of Directors of the PR Association of Film and Audiovisual Producers for over a decade and hosted the First Puerto Rican Coproduction Forum for Ibero American Films. 

Cadilla produced and directed the TV film “Cal y Arena”, based on a story she co-wrote. She’s producing and codirecting the documentary “Cicatrices” (“Scars”), about formerly incarcerated females who have used theater as a rehabilitation tool. She also wrote the series “De carne y hueso” (Flesh and blood), inspired in the real-life stories of incarcerated men and women. 

She produced, co-wrote and directed the series “Después del Adiós” (Beyond Goodbyes), lauded by the media as the best production of this genre in Puerto Rico. She’s written, produced and directed short film series for the Office of Women Affairs, and has produced and directed films for TV, musical videos, television specials and public service advertising campaigns. She coproduced and wrote the script for “Múltiples Ellas”, breaking the Performing Arts Center’s attendance record, a statistic that remained unequaled for several years. Cadilla produced, among other projects, seven environmental education festivals (with concerts, multimedia exhibitions, recycling, reforestation and beach cleanup drives and educational conferences), and was awarded and recognized both by government agencies and private environmental organizations. 

Cadilla was a leading figure in soap operas. Her roles include costarring in TV films and the Spanish-Puerto Rican film “Agua con sal”. A recent performance was in “The Vessel”, starring Martin Sheen. She produced and starred in Cyrano de Bergerac, receiving the best actress award of the Drama Critics Circle, which also chose the play as the year’s best.

Virtual Event 6/27: Refueling for Justice feat. “Art as Release” JAC Artist Panel!

The Justice Arts Coalition has been honored to collaborate on a panel within Refueling for Justice, an all-day, free virtual event for those in the movement for Black lives, highlighting Black artists, teachers, musicians, dancers, healers, speakers, and more.

From the Refueling for Justice website:

To win long-term, systemic change – we need to be able to go for the long haul.

Refueling for Justice is a free virtual event that creates a space where those who have been striving for justice can refuel. Where they can re-calibrate and join with others through life-uplifting activities and performances.

It’s like a relief station for justice marathoners!

We will stream a variety of Black-centered artists, performers, exercise experts, and practitioners of yoga and other practices.

No matter if you have been marching, writing, posting, simply surviving, or anything in between, we need you to be able to continue for the long haul to keep working to change our unjust justice system.

Refueling for Justice reached out to JAC to help put together a panel of returned artists, and we are so happy to highlight Kamisha Thomas, and Ray Palmore, and Khalid Thompson who will moderate the panel. Kamisha Thomas is a filmmaker, writer/director, and cofounder of the Returning Artists Guild, a network of currently and formerly incarcerated artists based in Columbus, Ohio. Ray Palmore is a self-taught visual artist, as is Khalid Thompson, who focuses on abstract work. Khalid led an amazing workshop called “Painting the Moment” with our Create+Connect series, and will be incorporating a shortened version of it into the panel this Saturday!

Join us at 1:30 pm for “Art as a Release” to hear Kamisha, Ray, and Khalid discuss their artistic journeys, thoughts on art’s personal, cultural, and social significance, and more!

R4J Panel (1)

Find out more about Refueling for  Justice on their website, Instagram, or Twitter, and go here to reserve a free ticket. If you are able, include a donation with your ticket to help compensate the facilitators offering their time, art, and expertise to the event. One ticket gives you access to all 16 (!) hours of events and programming.

 

Please share the event with your friends/family/loved ones, and we hope to see you this Saturday!

 

 

Workshop Spotlight: A Conversation From Death Row with Kenneth Reams

Our online Summer Workshop Series Create+Connect is going strong! This week, on Thursday, June 22, we are so excited to be joined by the incredible Kenneth Reams.

Kenneth "Artist927" Reams
“Kenneth ‘Artist927’ Reams” by Kenneth Reams

Kenneth Reams is an artist, social justice activist, and the founder of Who Decides, Inc., a non-profit that aims to raise awareness through the arts of the racial, ethical, and socio-economic issues intertwined with the history and practice of capital punishment in America. This workshop will include an hour long discussion of his experiences, as well as a Q&A at the end.

Mr. Reams is a native of Pine Bluff, Arkansas, one of the most impoverished cities in America. Growing up in poverty, struggling with hunger, abuse, and a lack of opportunity, criminality became an increasingly prominent, unfortunate facet of Mr. Reams’ life. Following a botched robbery at a drive-thru ATM, where his friend shot and killed a man in the heat of the struggle, Mr. Reams was convicted of capital murder and sentenced to death, becoming the then-youngest inmate on Arkansas’ death row, despite not having pulled the trigger.

Facing execution for a murder he did not commit, Mr. Reams refused to allow his spirit to be broken, deciding to hone his life-long artistic skills and vision in order to share his story and perspective with the world. His art has been donated to several institutions, published in books; such as “Marking Time” – released in 2020, and featured in exhibits from New York to Norway, Little Rock to London, and many locations in between. Through a variety of media, including paintings, sculpture, and poetry, Mr. Reams expresses a uniquely visceral vision of the inhumane, arbitrary nature of capital punishment and the exploitative character of the prison-industrial complex.

Home
“Home” by Kenneth Reams

Simultaneous with his rise in profile as an artist, Mr. Reams has become a prolific public speaker, engaging and enlightening an increasingly global audience. His past speaking engagements include talks at the International Film Festival on Human Rights in Switzerland, Stanford University, Bethany College, Princeton University, Columbia University, UNC Chapel Hill, St. Francis College in New York, Yale University, Geneva University – in Switzerland, and the University of Miami School of Law.

With the release of Free Men, a documentary about Mr. Reams’ life, legal battles, and art, his story has taken on a new dimension and medium. As the film has made its way through the circuit of international film festivals, Mr. Reams has shared his thoughts about the film and the future with enraptured audiences in Beirut, France, Argentina, Islamabad, Great Britain, Tokyo, Belgium, and Vienna.

Despite the physical limitations facing Mr. Reams, having spent the past twenty-seven years of his life in the solitary confines of a six-foot by nine-foot cell, Mr. Reams continues to make a lasting impact on all who hear his harrowing yet inspiring story, prompting a widening audience to evaluate their own conceptions of justice and morality.

Please join us for Kenneth Reams’ Workshop on June 22 at 7 pm EST! Tickets here.
Check out more of Kenneth’s work on his website, and sign his petition here!

The Becomings of A Master: Abstract

By R. Zumar

This is the first piece of abstract art that I’ve ever made. I didn’t know what it would mean to me once it was finished and really didn’t have a plan of what I wanted when I was looking at this blank piece of paper in front of me. Then I started thinking about this pandemic we all are going through, how it spreads to all four corners of the world with no reprieve no matter who you are. It spreads and takes us further from each other cause we are force to isolate to fight it, but in that isolation we are not really alone. While the virus spreads sickness and death we can spread kindness, life, love, help one another when we can and have empathy for our fellow man.

We will make it through this and I believe we will be even closer to each other once we do. I only wish to spread hope for now and eternity. What is it that you wish to spread.

The Spread

I am the artist R.Zumar and this is The Spread. This is The Becomings of a Master.

About the guest contributor:

“I’m Rayfel Zumar Bell known as R. Zumar and discovered my passion for art while incarcerated. I’m a self taught artist who strives to break into the art world even from a cell. I spend the lions share of my time thinking about and creating art, the rest working out and my favorite pass time, snacking :)! Through art I want to help others and contribute to various charities I care about; cancer, autism, sponsoring kids in need around the globe, and preserving wildlife.”

View the first four installments in the artist’s blog series here, here, here and here.

Rayfel asked that we include this note within this post:

“The Justice Arts Coalition!
What can I say about The Justice Arts Coalition?
I could say that they do good work. I could say that they are wholeheartedly dedicated in what they do, but those would be understatements.
They don’t only do good work they do great work. They are not only wholeheartedly dedicated in what they do, they believe in what they do. They are not looking to exploit artist they deal with, they are looking to help the artist grow and I greatly respect and appreciate that.
Wendy, the founder of JAC, and those that work with her does a lot. This isn’t their jobs, this is work that they volunteer to do because they believe in the concept that people can grow to be better than they were. That when you give the voiceless a voice and let them speak their truth, you can bring forth the good that’s deep within them.
I trust that JAC will always do the right thing and I don’t have much in the world in way of wealth, but what I can contribute I will. So I ask of you out there in the world to contribute how ever you can. Even $1.00 can help in contributing to the cause.
I am the artist R.Zumar and I thank you all for just being here whoever you are. This is The Becomings of a Master.”