Kudos For Memoir About Teaching the Arts in a California Men’s Prison

From Caitlin Hamilton Marketing & Publicity, LLC 

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(Knoxville, TN, July 23, 2019) In her unforgettable memoir, HUMMINGBIRD IN UNDERWORLDreleased this week by She Writes Press, Deborah Tobola intertwines the story of her rowdy family and occasionally tumultuous childhood with the story of her nine-year stint as a teacher of arts and creative writing at the California Men’s Colony, a prison in San Luis Obispo, California.

Tobola’s teaching changed lives, allowing prisoners to see that they were also poets, dramatists, and artists. The creative writing and performances her students pursued were a respite from the drudgery and violence of prison life, but even more, they brought hope. Over the years, Tobola battled officers who thought prisoners didn’t deserve programs; bureaucrats who wanted to cut arts funding; and inmates who stole, or worse. Yet Tobola loved engaging prisoners in the arts, helping them discover their voices: men like Opie, the gentleman robber; Razor, the roughneck who subscribed to the New Yorker; and Do Wop, a singer known for the desserts he created from prison fare.

Tobola enjoyed wonderful success as a teacher: her students in prison won writing awards, published their work locally and appeared on local and national radio. Each year, Arts in Corrections students produced original plays with music, under her direction. But in the end, her programs were eliminated in budget cuts.

HUMMINGBIRD IN UNDERWORLD is fascinating, heartbreaking, thought-provoking, and memorable, and it powerfully depicts both the endurance of the human spirit as well as the importance of the arts in all of our lives.

DEBORAH TOBOLA is a poet, playwright and co-author of a children’s book. Her work has earned four Pushcart Prize nominations, three Academy of American Poets awards and a Children’s Choice Book Award. Tobola graduated with high honors from the University of Montana in 1988 with a Bachelor of Arts in English. She earned a Master of Fine Arts degree in Creative Writing from the University of Arizona in 1990. She has worked as a journalist, legislative aide and adjunct English faculty member in Alaska and California.

Tobola began teaching creative writing in California prisons in 1992, taking the job of Institution Artist Facilitator at the California Men’s Colony in 2000. Tobola retired from the Department of Corrections at the end of 2008 to begin Poetic Justice Project, the country’s first theatre company created for formerly incarcerated actors, where she serves as artistic director. Tobola returned to prison work five years ago and currently teaches creative writing and theatre at the California Men’s Colony. She lives in Santa Maria, California.

For more information, or to check out Deborah’s events,  please visit her online at www.deborahtobola.com.

“With Hummingbird in Underworld, Deborah Tobola has found what Rumi calls, “the infinite moment when everything happens.” It is luminous and tender. The reader is given passage to poetry and humanity; to compassion and even to a bright proposal to change our prison system. Remarkable.”—Gregory Boyle, Founder, Homeboy Industries

“Tobola came to the California Men’s Colony with a dream to make the arts program a lighthouse in the dreary sameness of prison life. With open-mindedness and empathy, Tobola explores how systemic issues play out in individuals’ lives as they grasp for light in the darkness.”—Booklist 

“…a deeply moving reflection…beautifully wrought…”—The Indypendent

“…a treasure of a book in multiple ways.”—Foreword Reviews


Teaching artists & educators working in prisons, please take a moment to read and respond regarding copyright empowerment for incarcerated people

From John Whitman, Director, Intellectual Property for Innovation, Museum for Black Innovation and Entrepreneurship

There is a long history of written and artistic work stemming from prison and the experience of incarceration. Many in detention today are creating
literature and art. What is not so clear is whether they are aware of their
Constitutional right to protect their intellectual property and, moreover,
understand how to register their copyrights to ensure such protection.

I am engaged in a nonprofit program to provide free materials to prison
librarians willing to learn how to help their clients register copyrights and
also to publish their works online. To better understand the scope of the
problem, the level of interest among librarians, and ideas for dissemination, I am asking for your kind response to a very short survey here:
https://www.surveymonkey.com/r/92VPQ7R

Note that the survey appears directed to prison librarians; however, whether or not you are a librarian or can share this with a librarian, please respond to indicate your level of interest and suggestions for dissemination.

This program, called Intellectual Property for Innovation is a voluntary undertaking by the Museum for Black Innovation and Entrepreneurship in consultation with the Institute for Intellectual Property and Social Justice, as well as with other literary and arts educational programs.

Those who provide an email address will receive the results. Many thanks for responding as soon as you can!

For more information, John Whitman can be contacted at whitman@mbiedc.org

Ida B. Wells by William. B Davis


The Slippery Slope of Kindness

by Treacy Ziegler

The following continues the installments on kindness in prison. I asked prisoners participating in the Prisoner Express distant learning project to describe different experience of kindness; 1.kindness that felt sincere;  2. kindness that seemed insincere in that it was a means to getting something else; 3. kindness that started out as kindness but turned violent; and 4. kindness between prisoners and non-prisoners within the prison system. The first two experiences of kindness can be read at above hyperlinks. The following explores the third experience

“The meeting of another,” painting on panel, Nathan Riggs

In a windowless classroom of the super-maximum security prison, I sit alone with Marc waiting for other prisoners to arrive. I’m surprised to see Marc at this super max prison. He was in my prison art class at a medium-secure prison where I also volunteered. I had just seen him the month before and don’t know why he is now at this higher security level prison. I don’t ask.  

The other prisoners never arrive for art class. This is not particularly surprising as guards at this prison often test my reactions to certain situations: I’ve been locked in a room with lifers – those prisoners with life sentences – where I am given no means of getting out of that room. At other times, the guards “forget” I am having a class. They don’t issue call-out passes for the students and I sit there for an hour waiting for no one. I figured this time the guards locked me in the classroom with Marc to see what I would do. (Who knows what they suspected!?) The guards’ ploys against volunteers are numerous. However, I’m not particularly bothered by this incident; happy to conduct a private drawing lesson with Marc. He is a talented artist and works hard in the class. As Marc works on his drawing, he explains why he’s in the super-max. He was involved in a fight with another prisoner at the medium-secured prison. Marc says,“I beat him up pretty bad. I was just trying to be kind to him, but the guy misinterpreted me…and then it went really bad.”

Ronnie tells another story describing kindness-gone-wrong: “I was comfortable working as a janitor because it helped keep my locker full. The new guy was a pretty big youngster from Austin, Texas. He did not have any possessions when he came. Out of kindness of my heart I told him that if he was hungry to just get something out of the locker. Then I went back to work. That act of kindness was soon interpreted as an act of weakness. In the days to come he started to try and assert dominance in the cell. So I pulled him to the side and warned him that he was playing with fire and when you play with fire, then you are bound to get burned. But he brushed my warning to the side and continued to flex his muscles. After three strikes, I sent him to the hospital where he stayed in a coma for nine days.”

There are numerous stories of misguided kindness. Logan writes: “I had a Christian cellmate (known as Jesus) who was ‘generous to a fault’ as they say, especially for the penal environment. One day (after he’d had 3 radios of his stolen because he’d never stand his ground to get one back) he noticed this new African-American prisoner (about 23 years old) didn’t have a radio. So he tells me, ‘The Lord is moving me to give that kid a radio.’ Against my advice, this cellmate went to the kid’s cell, handed him a radio and said, ‘Here, this is for you. Jesus loves you. Remember that!’ Well, the kid was stunned of course so after he thought about it, he (a recruit for the Crips) goes to the Crips and asks, ‘What do I do?’  They tell him to beat the hell out of him. The kid’s first blow was smashing the radio across his face.”

Armando speaks of an incident of kindness interpreted as an insult by the person receiving kindness: “There is one man who’s always in arguments and thinking he’s being picked on. When I share thoughts in a nice way, he interprets it as a sarcastic remark. What was a sincere comment becomes ridicule. If you give him food, it becomes an innuendo of being a bum or poor; soap becomes a subtle sign that he stinks; an offer becomes a trap. Etc.etc. Kindness can become suspect to a paranoid mind. Truth is, often times people give but consciously or unconsciously they expect something in return. You hear it in the remark “After I’ve done for you….”

Simple acts of kindness can be misinterpreted. Scooter writes: “One time I was trying to be kind to someone and it almost cost me my life. It was mail call and the boss we had working the tank doesn’t like inmates. If she called your name for mail and you didn’t hear her you would not get your mail that day. I was standing there waiting on her to call my bin number when she called one of my neighbors. So being a nice guy I got his mail and took it to him. He got all bent out of shape because I handled his mail and he decided to pull out a shank and tried to stab me. Needless to say, I learned my lesson about touching other peoples’ things (hah).”

In these descriptions, kindness is interpreted as weakness with the opportunity to take advantage of the other person. But that’s the thing; kindness does demand vulnerability. Kindness demands a vulnerability – call it weakness – of both parties; the giver, who is extending him/herself to someone who might reject the offering; and the receiver, who by accepting kindness, admits a need.

One of the difficulties is that there are no rules on how kindness is to be exchanged between two people. This lack of rules for kindness stands in contrast to how respect can be developed in prison. Gaining respect in prison has a specific structure based upon rules dictating the behavior of the individuals. It is a structure upon which – according to the prisoners in my classes – many prisoners grow dependent. But as Fred, a student in my class, suggests;  “When they get out, they try to find this same formula for getting respect, but don’t get it and this becomes hard on many.  They get angry on the street, often act out in response, and then get sent back in here.”

Unlike respect, kindness is a funny thing. It cannot be formulized into the same “if this, then that” equation that is possible in respect development. An element of kindness is the lack of personal gain for the giver; my actions cannot be considered kind if my actions are for my benefit. Nor can kindness be formulized into rules dictating how I should act in a certain situation; I cannot be forced into acting kind. Likewise, rules dictating how the receiving person must react to my kindness also undermine the experience of kindness. Kindness asks to remain uncharted, unexpected, and unpredictable  – a difficult task in a system that imposes rules upon every aspect of a prisoner’s life.

About the guest contributor:

Treacy Ziegler is a regular contributor to the JAC blog, and has been an exhibiting artist for the past 23 years. She studied painting and printmaking for four years at the Pennsylvania Academy of Fine Arts.  In 2009, Ziegler began exhibiting her work in prisons and created An Open Window, a project within the project of Prisoner Express in the Center For Transformative Action affiliated with Cornell University.  In this project she donates her artwork to prisons, develops in-prison art workshops, and creates through-the-mail-art curricula with a network of 6,500 prisoners throughout the United States, many who are in solitary confinement. Ziegler lives with her husband, Gary Weisman, a sculptor, in Newfield, New York.

 

Just Art Initiative

by Annabel Manning

As part of the Jail Arts Initiative, I give a series of art workshops based on the “Nana” using Nikki de Saint Phalle’s “Nana” figures as a departure point. This way incarcerated adult participants can explore the themes of identity and agency through the female form.  Their “Nana’s” become portraits based on important female figures in their own lives (e.g., mother, grandmother, wife, daughter, sister, partner, lover). They are accompanied by “I am” poems as a way to think about their own identity and situation using text.

The Jail Arts Initiative (JAI) is a partnership I co-initiated in 2011 with the Bechtler Museum of Modern Art (Charlotte) and the Mecklenburg County Sheriff’s Office.

I give art workshops inspired by Joan Miro’s  painting, “Ladder of Escape,” series of artworks. The ladder becomes a metaphor for negotiating two worlds such as terrestrial and celestial, everyday life and imaginary life, or Latinx culture and U.S. culture. See Ladder of Escape folder for artwork examples.

I also teach art workshops inspired by Miro’s painting, Hope of a Condemned Man. During the last years of Franco’s reign in Spain, Miró painted a triptych in support of the young anarchist Salvador Puig Antich, who was executed by Garotte.  We explore how this triptych might relate to participating incarcerated adults and their own situation, by creating artworks re-interpreting Miro.

As part of my Lewis Hine Fellowship with Duke University, I have been working with the Men’s Empowerment Program (MEP) at Harlem Community Justice Center. MEP creates opportunities for young men of color in Harlem to heal, build self-identity, pursue individual goals, and work with peers to strengthen their communities. My role is to teach these young men artistic tools (printmaking, photography, the written word, photography, audio, and other mediums) as a way to approach these goals . MEP participants have all been impacted by the justice system in some way.

MEP interns are constructing collages based on Romare Bearden’s “Block” painting series. Bearden was a Harlem-based artist and activist who created artwork that visualized and commented upon black life in Harlem. Likewise, in the spirit of Bearden, MEP participants are creating collages based on their own neighborhoods. They take their photos, photos from Harlem based magazines and newspapers, paint, patterned paper, and text.  Then they interview each other about their blocks and this audio becomes an important component to the visual pieces.

The “Block” pieces were exhibited at the Harlem Community Action Center in East Harlem.

About the guest contributor:

Born in Mexico and raised there and in South America, Annabel Manning’s role as a social- practice artist is shaped by the needs of the communities with whom she collaborates to find ways for individuals to represent themselves, whether in jails, restorative justice centers, pre- schools, schools, hospitals, or art centers. In 2011, she helped to create a Spanish-language “Jail Arts Initiative” at two Charlotte-Mecklenburg County (NC) Jails in collaboration with the Bechtler Museum of Modern Art and the Mecklenburg County Sheriff’s Office. For the past four years, she organized, with ArtsPlus in Charlotte (NC), a bilingual art and literacy program for Latinx families and their preschooler children.

Annabel uses photography, printmaking, painting, poetry, audio, and other tools in collaboration with individuals to express their experiences with economic and physical hardships as they struggle for recognition, respect, and rights in society.

Currently, she is a Duke University Lewis Hine Fellow working at the Harlem Community Justice Center. As part of this fellowship, Annabel is developing art projects with the Justice Center’s Men’s Empowerment Program (MEP), which works with young men of color between the ages of 18-24. In addition to creating self-portrait monoprints, they are creating audio collages based on photography, videography, and audio, around Romare Bearden’s concept of “The Block.” Ultimately, MEP hopes to digitize the blocks and install them on fencing surrounding an area of the Wagner public housing development where the Justice Center’s Mayor’s Action Plan for Neighborhood Safety is planning to create a community hub.

Annabel Manning
Duke University, Lewis Hine Fellow
Harlem Communiy Justice Center
annabelmanning.com
https://www.instagram.com/annabelfmanning/
https://www.instagram.com/mep_nyc/


Celebrating a successful opening night…and a video launch!

by Wendy Jason, Managing Director of the Justice Arts Coalition

On Saturday, May 25th, at Rhizome DC, the Justice Arts Coalition celebrated the opening of Becoming Free, our first exhibition of works by incarcerated artists. We were joined by nearly 125 community members, each one helping to fill the space with warmth, care, and a genuine appreciation for the six artists, their stories, and their work. Quite a few guests took the time to write notes to the artists, which I will be mailing off this week. The sense of validation and connection that comes from receiving this feedback means the world to them.

Members of the Tributary Project set the tone for the night with their infectious rhythms and gorgeous melodies, and friends from local partner organizations Free Minds Bookclub and Voices Unbarred read poetry — both their own, and pieces written by men in a writing class at a nearby prison. We screened two short films by Logan Crannell, and showed our own film, Making our Meaning — which was beautifully edited by Logan — for the first time. Much of the artwork was for sale, and each of the artists has generously offered to donate a portion of the proceeds to the JAC. Local businesses 3 Stars Brewing Co., Green Plate Catering, Mark’s Kitchen and Olive Lounge contributed everything we needed to stay well fed and hydrated, and Ecoprint donated graphic design and printing services resulting in vibrant flyers for the event and new informational brochures to have on hand. If you’re in the DC area and would like to visit the exhibit, which will be up until June 22, please contact me at wendy@thejusticeartscoalition.org.

Check out more photos from the opening here, and please watch (and share!) the video below!

If you joined us for the opening, and have photos or videos you’re willing to share with us, we’d love to see them! Please email me at wendy@thejusticeartscoalition.org. Thank you!