Rehabilitating South African juvenile offenders through creative arts
First phase of an effectivity research on the creative arts programof Young in Prison South Africa
Masterscriptie Forensische Orthopedagogiek Pedagogische en Onderwijskundige
Wetenschappen, Universiteit van Amsterdam Student: N.R. Nollet (5696682)
Begeleiding door: Drs. E. Kornelis
Tweede beoordelaar: Prof. dr. G.J.J.M. Stams Amsterdam, augustus 2013
Index
Abstract p. 3
Introduction
Youth crime in South Africa Risk factors and resilience factors Creative arts in prison
Requirements for effective arts interventions Young in Prison South Africa
Life-skills
The current study
p. 3 p. 3 p. 4 p. 5 p. 6 p. 8 p. 8 p. 9 Method Participants Procedure Instruments Analysis p. 10 p. 10 p. 10 p. 11 p. 12 Results p. 13 Discussion Life-skills
YiPSA’ creative arts program and the requirements Motivation of juvenile offenders
Limitations of the study
Recommendations and future research
p. 21 p. 21 p. 22 p. 23 p. 24 p. 25 References p. 27 Attachments
Attachment 1: Questionnaire for Ottery youth Attachment 2: In-depth interview with YiPSA staff Attachment 3: E-mail interview with YiPSA volunteers
p. 30
p. 30 p. 43 p. 45
ABSTRACT
Young in Prison South Africa (YiPSA) is an organisation that aims to rehabilitate incarcerated juvenile offenders. This study investigates how the effectivity of YiPSA’s creative arts program can be measured. Therefore, this study explores the needs in terms of life-skills of juvenile offenders, requirements for effective art interventions and the current YiPSA program. Data were collected by means of questionnaires, in-depth interviews and e-mail interviews. It was found that juveniles are motivated for the creative arts program, find most skills important, and need to develop life-skills. YiPSA is not meeting all the requirements for effective interventions. The results of the study are encouraging, because with further work of YiPSA the effectivity of their program can be
improved and measured.
Keywords: juvenile offenders; youth crime; South Africa; rehabilitation; intervention; art therapy;
creative arts; life-skills; effectivity
Introduction
The juvenile inmates of the South African prisons, also known as the “University of Crime”, grow up under extreme conditions with almost no opportunities for them to change in a positive way. After release the juvenile offenders often end up in the same situation as before (Young in Prison South Africa, n.d.). Therefore, Young in Prison South Africa (YiPSA) is an organisation that aims to rehabilitate incarcerated juvenile offenders through a creative arts program. This study describes the first phase of an effectivity research to contribute to the needs of YiPSA to have a research done on the effectiveness of their creative arts program towards rehabilitating juvenile offenders.
Youth crime in South Africa
South Africa is known as one of the countries with the highest crime rates in the world. Especially the violent crime rates are considerably high ([Crime Stats of South Africa], 2010). Since this research is conducted in Cape Town, a multicultural city in the Western Cape province, it is worth mentioning the fact that the Western Cape province seems to be concerned with the highest crime rates in comparison with the other provinces in the country. As well, the number of under aged people who are involved in crime, both victims and offenders, in South Africa are the highest in the Western Cape (Donson, 2007). According to recent research (Burton, Leoschot, & Bonora, 2009), young South Africans are significantly more likely then adults to be involved in crime, the top out ages of offending and victimisation is between the age of 12 and 21 years old. The high number of South African juvenile delinquents is evident in the youth incarceration levels. The Centre for Justice and Crime Prevention (CJCP) reports a national total of 61.616 youth prisoners in
the age of 14-25 years old, both sentenced and in awaiting trial, in the end of September 2007 (The Centre for Justice and Crime Prevention, 2007).
Risk factors and resilience factors
The probability that a young person is getting involved in criminal activities is related to certain risk factors. A risk factor can be defined as a variable that predicts an increased probability of later offending. In spite of the fact that every juvenile in prison is an individual with his own story, there are notable common risk factors, which can be identified for juvenile offending (Burton, 2007). The most common risk factors for South African juveniles are poor education,
unemployment, illiteracy, race, gender, violent peers, victimisation, criminal role models, lack of positive role models, substance use and unhealthy home environment (Burton et al., 2009). Youth crime is generally viewed as a result of a range of risk factors, based on different social
environments; the individual context (i.e. aggression, early onset of violent and impulsive behaviour, personality and temperament), the family context (i.e. economically stressed family, child abuse, aggressive and criminal behaviour of relatives), the school context (i.e. lack of education, absenteeism, poor schooling), community context (i.e. poverty, gangs) and the external social contacts (i.e. interaction with deviant peers and gangs) (Ward, 2007). This view can be supported by the social learning theory, this theory suggests that criminal behaviour is learned through the interaction with different social contexts in which the child participates. Children develop in a social context through social learning (Ward, 2007).
In addition to the risk factors Burton (2007) also focuses on resilience factors. Resilience factors are factors that can help the child to keep away from crime or help not to fall into
recidivism. The most influential resilience factors for South African children are; being educated or attending school, gender (girl), non-violent family environment, having a positive role model, substance avoidance, interaction with non-delinquent peers, not being involved in a gang, not being a victim of criminality, neighbourhood factors, attitudes intolerant toward violence and criminality.
The extent of youth crime in South Africa is enormous, the figures are extremely high, and therefore it is of high social importance to work towards preventing youth crime and rehabilitating juvenile delinquents so recidivism will be reduced. To reach these goals there are many possible approaches focussed on the risk factors and resilience factors. Where there is much research done on intervention programs in North America, Europe and Australia, it is of importance to keep in mind that these programs operate under circumstances that deviate highly from the South African reality. South African interventions are facing important challenges in terms of human and financial
resources, sustainability, and potential for growth (Steyn, 2005). There is not much evidence, in comparison to the Western countries, on what type of interventions work in the local South African context and conditions, and also what works for particular profiles of juvenile delinquents (Steyn, 2010). Therefore, the academic relevance of this study is high.
Creative arts in prison
In this study, the focus is on creative arts as an intervention in prison. From a historically view prison art is probably as old as the institution prison itself (Ursprung, 1997). Creativity and artistic expression seem to naturally constitute as part of prison and many delinquents spend their time making art (Gussak & Ploumis-Devick, 2004). Creating arts has been directly linked to primitive impulses as aggression, sexuality and escape (Fox, 1997 in: Gussak & Ploumis-Devick, 2004), in this context art can function as a safe and acceptable way for inmates to deal with destructive feelings (i.e. anger and aggression) (Liebmann, 1994).
Although creating arts has been part of prison since the first day, there is not a lot of research and practice done on art therapy in prison. Hughes (2004) has conducted a notable meta-analysis on art-based interventions in the criminal justice system. This study is based on qualitative and
quantitative studies and focuses on prevention, custodial and community sentencing, and
rehabilitation. The main finding of Hughes (2004) research is that arts interventions are associated with reduction of re-offending. Also, art-based resettlement programmes for ex-offenders, focused on developing personal and social skills, have effectively helped them with getting training and jobs. Arts in prison have impact on affective, cognitive, behavioural and neurological levels (Hughes, 2004).
To effectively change the behaviour of juvenile offenders, they need to acquire some basic skills; self-awareness, self-expression, positive behaviour and communication skills (Gussak & Ploumis-Devick, 2004). Johnson (2007), Gussak (1997) ,Liebmann (1994) found the following key-benefits of art interventions; Art develops self-expression, self-exploration and creativity. Art can communicate meaningful nonverbal messages for clients who have problems with verbal
communication, expression and poor literacy. Art can be used to start discussions and to note development over time. Art art can function as a bridge between a client and therapist (Gussak, 1997; Johnson, 2007; Liebmann, 1994). Hughes (2004) found the following benefits; arts can change the internal triggers and disposition of offenders towards committing crime. Also, arts can function as a means to develop personal and social skills, which can help them with relationships, work and education.
Noteworthy, Hughes (2004) found in his study that, arts interventions are associated with two benefits within the prison environment particularly a decrease of rule breaking and an increase of positive relationships between inmates (Hughes, 2004). This can be supported by the fact that creating positive art can be a status builder, can help inmates with making friendships and deserving respect from their peers and, through arts the prison culture can be changed (Gussak, 1997;
Johnson, 2007; Liebmann, 1994). Research shows that arts programs improve the mood and well-being of inmates significantly compared to those who don’t receive an arts treatment, as well art programs reduce depression of inmates (Gussak, 2007). Also, inmates might enjoy themselves while creating art (Gussak, 1997; Johnson, 2007; Liebmann, 1994). In addition, the benefits of arts interventions go beyond the prison environment because, it can change the view of the community toward offenders and the criminal justice system (Hughes, 2004).
In sum there is a great number of benefits of using arts as rehabilitation in correctional settings. But, there are certain requirements for arts interventions to actually reach these benefits and work out to be effective. These requirements are related to both the content of the program as the design of the program. The content is responsible for the conditions of the intervention to reduce re-offending, the design of the program focuses on creating the conditions for the implementation of the content. Often, content and design are difficult to divide, because they are indissolubly
connected.
Requirements for effective arts interventions
As research shows (Hughes, 2004), one of the requirements of arts intervention is that it should be theory-based. There are several theories that can explain the impact of arts, for example cognitive behavioural theory, role theory/ social learning theory, resiliency theory, social capital theory, and learning theory. Generally, arts interventions in custodial settings are substantiated by cognitive behavioural theories (Hughes, 2004). This model has roots in the social learning theory of Bandura (1977) and other social psychology theories. Through experiences and training individuals can learn to manage the complex relationship between behaviour, feelings and thoughts. To change the behaviour of a person it is necessary to first change the way they think. The cognitive
behavioural training consists of a cognitive component, i.e. learning thinking skills, an emotional component, i.e. learning self-awareness, self-expression and self-control, and a behavioural
component, i.e. learning pro-social ways of acting to achieve goals (Hughes, 2004). The following requirements for both content and design of the arts intervention are based on the underlying cognitive behavioural theory.
To start with the content of an arts intervention, to rehabilitate juvenile delinquents they need to achieve certain competences to change their behaviour; self-awareness, self- expression, constructive behaviour and communication skills (Gussak & Ploumis-Devick, 2004). A successful program will aim to increase social skills, change behaviour, strives for personal improvement and focus on multi-agency programs (Hughes, 2004). A multi-agency program is a program that makes a combination of a number of approaches and addressing a number of risk factors (Lipsey, 1992). The report of the Community Law Centre (2000) has specified the needs of South African juvenile delinquents, and gives suggestions of what a basic rehabilitating package should include. However the features of this report are not specified on art interventions, this report will give important knowledge of the needs of South African juveniles. A program should address the risk factors, including sexual education, hiv prevention and substance abuse. Also, it is important to focus on criminal, anti-social and destructive activities. Next, the intervention should increase self-esteem, values, processing emotions (anger and depression management, assertiveness training), conflict resolution, democracy and civic training. The program should also be focused on ‘street law’ and legal education, life skills training, career and educational counselling, evaluation of economic alternative to crime. Finally, evaluation of progress, fostering of personal responsibility, active involvement in decision-making, taking responsibility for own progress, fostering of leadership, and community involvement (Community Law Centre, 2000).
Focussing on the design of the program, Hughes (2004) has mapped the features of art programs that are held to effective for delinquents in a custodial setting. Ideal a program should be a long term-program, but a short-term program can be effective as well. To provide a overarching structure to address the risk factors related to re-offending and to work towards the gains of the participants, it is important to make use of the multiple-agency approach and partnership programs. When it comes to this approach it can be useful to integrate staff from other professional groups or programs. The program should attempt artist training, done by a professional artist, or second best, by a person with serious artistic instruction and commitment to a disciplined process. It is important that all the staff members of the art intervention agree with the goals and the aims of the program, they should have the same mission and vision. When it comes to developing the courses and programs, it is of importance to do this in cooperation with the participants. The input of the delinquents can be used to design the program. In case a program is already running, participants can be involved in planning and steering these running programs. The creative process should be challenging and the offenders should have an active and direct role in the process. It is important to recognise and commit to the developments of the individuals, on social and personal qualities.
There should be individual feedback about one’s performances as part of the process. Also, the program should attempt to increase self-evaluation and reflection. There has to be focus on the cultural differences between age and race. There should be a good supportive relation between staff and participant within regimes. Adjacent to this, there should be awareness for the fact that the individual interaction between the participant and a staff member can possibly improve the situation or cause barriers, regardless the method used in the program (Hughes, 2004).
In sum; the extent of youth crime in South Africa is enormous. The causes of youth crime are related to certain risk factors, specified for South African juveniles. It is of great importance to reduce the number of juvenile delinquents and to reduce re-offending. This study focuses on the approach to rehabilitate juvenile delinquents through an art-based intervention There are a lot of benefits of using arts as an intervention, but these art interventions should fulfil certain
requirements to work out to be effective. A promising approach, to reach the goal of rehabilitating juvenile offenders, is to adjust an existing art intervention towards the needs of the delinquent South African juveniles. Therefore this study is conducted in cooperation with Young In Prison South Africa (YiPSA).
Young in Prison South Africa
YiPSA is a non-governmental organisation found in 2002. YiPSA is working with sentenced and unsentenced incarcerated juveniles in Cape Town. The vision of this organisation is to ensure that even within the harsh prison environment, children and youth are given the opportunity to become responsible, productive and participating citizens of South Africa (Young in Prison South Africa, n.d.). The mission of YiPSA is defined as follows; YiPSA is working with young offenders in the age of 14 to 21 years old in rehabilitative programming using arts, literacy and sports. Through holistic programming that offers positive mentoring and encourages development of the self both during and after incarceration, YiPSA seeks to encourage program participants to make positive life choices an to become successful and contributing members of society (Young in Prison South Africa, n.d.). YiPSA has different programs running at different locations. The locations they work at are Ottery Youth Care Centre and Pollsmoor Prison, both located in Cape Town. The programs they are running are an Art program called ‘Inside Out’; young offenders are introduced to life-skills and self-development through the arts. Then there is a sports project, game project, and there is a life-skills project, where YiPSA aims to teach young offenders to become positive
Life-skills
Considering the goal of YiPSA to rehabilitate juvenile offenders through a creative arts program as a means of teaching them life-skills, YiPSA wanted to have a research done on the effectivity of their creative arts program. For that reason, it is of importance to first elucidate the concept of life-skills. Life-skills interventions are rooted in the social cognitive theory (Speyk, 2010), equally as the art interventions. Speyk (2010) describes the concept of life-skills; life-skills are the skills needed to live successfully in society, the greater the life-skills one possess the greater the range of alternatives for behaviour. Life-skills can be categorised in personal skills (i.e. healthy self-perspective, ability to problem solve), interpersonal skills (i.e. proper communication, conflict resolution and assertiveness) and planning skills (i.e. having realistic life plans and goals, making appropriate decisions) (Speyk, 2010).
Current research
To meet the question of YiPSA, to measure the effectivity of their current creative arts program, there first has to be a pre-research done. This study describes the first phase of the
effectivity research. To actually measure the effectivity it is of importance to get two elements clear. First, which life-skills do the South African juvenile offenders need? To measure the effectivity one has to know which life-skills have to be measured. Therefore, it was of importance to explore which life-skills the juvenile offenders need when they come out of prison and which skills they already have, also it is of importance to explore how the juvenile delinquent define themselves on the required life-skills.
Second, it is necessary to clarify how YiPSA currently works towards increasing the life-skills of the juvenile offenders. Therefore, it is of importance to get clear if YiPSA’s creative arts program meets the requirements for effective arts programs out of the academic literature. If YiPSA does not meet the requirements out of the literature, their program can hardly be effective. Hence, this study specifies the insights of the current YiPSA creative arts program and compares the current YiPSA arts program to the requirements of art programs that the literature held to be effective. The following research questions were formulated:
The main research question; How can the effectivity of YiPSA’s creative arts program be measured? To answer the main question, the following subquestions were defined:
1. Which life-skills do the juvenile offenders need to function successfully in society? a. Which skills do the juvenile offenders need when they come out of prison?
b. Which life-skills do the juvenile offenders already have?
c. How are de juvenile offenders defining themselves on the required life-skills? 2. How does YiPSA currently use creative arts as a means of rehabilitation for juvenile
offenders?
a. What information about the current art programs is available?
b. How are the volunteers, interns and staff describing the YiP art program? 3. What should a creative arts program look like to rehabilitate juvenile delinquents?
a. Which requirements for an effective art program are held to be effective in the literature?
b. Does the current YiPSA art program meet the requirements, out of the literature, for an effective art program?
i. For which aspect of the program are the juveniles most motivated?
Method Participants
The sample of this study consisted of juvenile offenders and YiPSA staff members. Juvenile offenders from Ottery Youth and Educational Centre (Ottery) participated in this study, and were selected in cooperation with YiPSA and the principal of Ottery on the criterion of being a
participant of the YiPSA arts program. Ottery is located in Cape Town, South Africa. A total of 12 boys (n=12 juvenile offenders) were provided the YiPSA arts program. The age range of the participants was between 15 and 16 years old, with an average of 15.83 years old (SD=.389).
Five staff members of YiPSA participated in this study (n=5 staff members). The staff members were selected by the researcher, on the criterion of being on a different level in the organisation; employee (n=1), intern (n=1) and volunteers (n=3). Their age range was between 21 and 31 years old, with an average of 25.8 years old. The intern and volunteers have been involved with YiPSA for the average of 5 months, the employee has been involved with YiPSA for 7 years.
Procedure
There have been two methods used to collect the data. First there were questionnaires designed and administered to the juvenile offenders. For the collection of the dataset both centres where YiPSA was operating their creative arts program were approached. Pollsmoor prison and Ottery had to give permission to collect data from their juvenile offenders. In verbal conversation with the researcher, YiPSA staff-member and the head of the juvenile section of Pollsmoor prison, the head of the juvenile section gave immediately notice that Pollsmoor prison was not prepared to give permission for the collection of the dataset. The principal of Ottery was positive towards the research in the verbal conversation with the researcher and YiPSA staff-member. Therefore, an Informed Consent was send to the principal of Ottery, which was asked to be returned with a signature. Ottery gave permission to administer the questionnaire to twelve boys who participated in the YiPSA’s arts program. Because of the rejection of Pollsmoor prison, there were only 12 boys participating in this study.
In consultation with the principal a date was set for the collection of the data. The juvenile offenders were taken to the classroom and were asked to fill out the questionnaire with a pencil. Since most boys were native Afrikaans speaking and the questionnaire was in English, there were two teachers of Ottery and the researcher (a student of the University of Amsterdam) helping the boys filling out the questionnaire. Before the beginning, the researcher informed the teachers to not
fill out the answers of the questionnaires for the boys, neither to give any suggestions for answers. It took 65 minutes to fill out the questionnaires.
Second, there was data collected through semi structured in-depth interviews with YiPSA staff members. The selection of staff members was not at random. The employee was selected of being the project coordinator of the YiPSA. It was therefore assumed that he had a lot of valuable insights for this study of the organisation and the arts program. To get answers from another perspective the intern of YiPSA was selected for this study. The researcher conducted the two structured in-depth interviews. The interviews varied in length between 70 and 90 minutes. All interviews were in English. The interviews took place at different locations, as the participants preferred. All interviews were tape recorded with the consent of the interviewee and have been transcribed in full. Also, to six volunteers an email was send with a document of the email version of the interview. The volunteers were asked if they could fill out the questions in the attached document. They were told that their names would not be used in this research, so they were free to answer the questions. Three volunteers responded by email to this interview email. After that, all the interviews have been printed and organised in order to analyse them.
Materials
Within this study there were different materials used for the collection of the dataset. The used materials will now clearly be discussed.
‘Questionnaire for Ottery Youth’
The ‘Questionnaire for Ottery Youth’ (attachment 1) was designed to measure the importance of certain life-skills for the juvenile offenders, and to measure the self-score on the same life-skills. Also this questionnaire was designed to measure the contentment of the juvenile delinquents concerning YiPSA’s program. The ‘Questionnaire for Ottery Youth’ consisted out of a front page and two parts.
The front page embraced a form about the juvenile offender himself. For example; age, native language, time incarcerated in Ottery, and time involved with YiPSA.
The first part existed out of part 1A and part 1B. Both 1A and 1B were based on a Dutch measurement tool, named TVA-JJI (Berends, Campbell & Bijl, 2010). The TVA-JJI was not literally translated to English, but of every subscales of the TVA-JJI a few items were to used to design part 1A and 1 B. Part 1A included 42 questions about the importance of different life-skills for a
successful life outside, which could be answered at a 7-point scale; very important, important, I don’t know, not important, absolutely not important. Part 1A contained questions as; ‘It is important
to have friends who have a positive influence on me’, ‘It is important to feel confident about myself’, ‘It is important to stay in contact with my family and friends’.
In part 1B there were 42 prepositions about owning the similar life-skills as asked in part 1A, which could be answered at a 7-point scale, variable from 1 = not owning the skill to 7 = owning the skill. Examples of prepositions in part 1B; ‘ I’m staying in contact with family and
friends’, ‘I notice when a friend needs help and I support him’, ‘I’m always on time for class’.
Since part 1A and 1B of this questionnaire were based on the TVA-JJI, it is of importance to give notice that for the original subscales of the TVA- JJI the Cronbach’s alpha was high (Berends, Campbell & Bijl, 2010).
Part two was designed to measure the motivation of the juvenile offenders concerning the program of YiPSA. Part two existed of three open questions; ‘Which life-skills are the most
important for a successful life outside’, ‘Which aspect of the program did you enjoy the most?, Which aspect of the program did you enjoy the least’. There was also room for any kind of
feedback.
‘Semi-structured in-depth interview for YiPSA staff’
The ‘Semi-structured in-depth interview for YiPSA staff’ (attachment 2) was designed to measure the insights of the current YiPSA arts program, the aim of the YiPSA’s creative arts program, life-skills to achieve for the juvenile offenders, and the motivation of the juvenile offenders, and the ideal arts program according to their ideas.
‘Structured in-depth email interview for YiPSA volunteers’
The ‘Structured in-depth email interview for YiPSA volunteers’ (attachment 3) was designed to measure the insights of the current YiPSA arts program, the aim of the YiPSA’s creative arts program, life-skills to achieve for the juvenile offenders, and the motivation of the juvenile offenders, and the ideal arts program according to their ideas.
Analysis
Statistical analysis was conducted on all participants who answered the questionnaires complete or incomplete. Average means were calculated for all test’s items. Cronbach’s alpha could not be calculated for every subscale of the ‘Questionnaire for Ottery Youth’ because of the low number of participants (n=12). With this reason, and the fact that the ‘Questionnaire for Ottery
Youth’ is not validated for the South African population, the measurements had to be done on single
item level. Descriptive statistics were used to calculate the percentage scores on al items of the questionnaire.
The second part of the ‘Questionnaire for Ottery Youth’ included the open questions, these open questions were summarised. The ‘Semi-structured in-depth interview for YiPSA staff’ and the
‘Structured in-depth email interview for YiPSA volunteers’ were analysed by a method for
qualitative research (Boeije, 2005). First the outcomes were open coded, then axial coded, then selective coded.
Results
To test which items of the ‘Questionnaire for Ottery Youth’ were important to the participants, average percentages scores were calculated. The results are reported in table 1.
Table 1
The vast majority of the items were important to the boys. The less important life-skills according to the participants were: not making comments that others may offend and sharing feelings with friends. The results of the self-score of the participants on the life-skills of the questionnaire are reported in table 2.
Table 2
The participants have scored themselves on having and not owning the life-skill. The vast majority has scored themselves on owning the skill. Life-skills which were owned in a lesser extent are: having friends with a positive influence, not making comments that others may offend, not being involved in a gang, talking about sex in an acceptable and non offensive way with my girlfriend and friends, not letting my daily functioning get affected by drug use, filling my weekend with leisure activities that don’t get me into trouble.
An overview of the importance of the life-skills compared to the self-score on owning the life-skill has been created in table 3.
Table 3
To interpret table 4 it is of importance to notice that a life-skill was judged as important when the participant scored very important or important on the item. A life-skill was judged as owned by the participant in case the participant scored 7 or 6 on the item. Accumulated percentages were
calculated. Generally, the percentage of participants finding the skill is important is equally to the percentage of participants who score themselves on owning the skill. There were some remarkable results below the 60%, these results will be elucidated in table 4.
Table 4
Overview of the most remarkable results in %
Item Importance in
%
Self-score in %
Q1: I have friends who have a positive influence on me 100% 33.3% Q3: Not making comments that others may offend 16.7% 33.3% Q7: It is important to practice any sport 100% 45.4% Q8: Doing leisure activities that don’t get me into trouble 90% 45.5% Q9: Not being involved in a gang 81.8% 33.3% Q13: Accepting that there are people who have authority
about me
83.3% 54.5%
Q25: Talk about sex in an acceptable and non-offensive way with my girlfriend/ friends
83.3% 50%
Q33: Not letting my daily functioning get affected by drug use
83.3% 50%
Q40: Filling my weekend with leisure activities that don’t get me into trouble
75% 50%
Q42: Stay out of contact with negative friends/ people 83.3% 50%
*Average percentage of the participants
The results of part two of the ‘Questionnaire for Ottery Youth’ were summarised. 10 out of the 12 participants answered to this part of the questionnaire. The first question: ‘Which life-skills are the
most important for a successful life outside’ was answered by 10 boys with; being educated/ going
to school, having a job, having a family, religion/ going to church. The second question: ‘Which
aspect of the program did you enjoy the most? was by 8 boys answered with: “Every part of the
program did I enjoy the most” and “The games I enjoyed the most”. Which aspect of the program
did you enjoy the least’ was by 7 boys answered with: “I liked every part!” and one boy answered:
love YiPSA” and “I want to join YiPSA again” and “I like the program and I enjoy it” and “No, I love this Young in Prison, thanks you for your help, love you!”. One boys says “I want to get more involved with the program”.
The results of the ‘Interview for YiPSA staff and volunteers’ were sorted and summarized by question of the interview.
Description of the creative arts program
The target group of YiPSA are juveniles who are incarcerated, in the age of 13 - 17 years old, and older boys in the age of 18 -25 years old. The younger and older boys are separated from each other.
The cycle of workshops takes around three till four months, it starts in February until June and from August until the beginning of December. The duration of a single workshop is between 1 and 3 hours, this is depending from day to day. YiPSA is going into the different centres 5 days a week, it is not clear and steady how often they go into the same departments. Not all the boys join the creative arts program, some join sports, games or a life-skill program just before release. The average amount of participants in a program is around 10-15 boys.
The participation of the workshop is both on mandatory as voluntary basis, joining the program is not mandatory but once a boy submits for the program they should attend around 80%. The juvenile offenders are subscribed to the YiPSA program by social workers. Social workers read the files of the boys, they decide if the participants needs to develop life-skills and then they recommend YiPSA. But sometimes other boys ended up joining the program as well, even though they weren’t subscribed.
The activities in the workshop are games, icebreakers, introduction games and team building games. Introduction of the topic in a discussion with the whole group. Smaller group discussions.
Explaining what the creative part of the workshop is for the day. Writing, poems, painting, and drawing. Recap on the workshop.
Function of project leader/ volunteer: There are about 2-3 volunteers per workshop. The project leader/ volunteer is preparing the workshop and leading it for that day. The other volunteers are helping. All volunteers can lead the projects, mostly volunteers who are good at is end up being leaders, the responsibility for the program comes to the leader.
There is mostly no project leader from YiPSA at the workshops, which sometimes causes trouble because the volunteers aren’t that well informed by YiPSA.
Informing volunteers: volunteers are getting a training of YiPSA before they go inside the prison. They learn about being safe in prison, i.e. what to wear and how to behave. They get information about the centre they’re going to work. Also, what YiPSA expects from the volunteers, and how to design a program. Reflection / feedback from juvenile offenders: After the workshop there is mostly a short recap on what the group has done that day. The boys have to tell what they’ve learned that day.
The boys are not really participating in the creation of the program, there is no room for them to structure the program, this is done by YiP. After the workshop is no time for real individual feedback, there was never an opportunity to spend time on individuals and to give them feedback.
Aftercare after the whole period of workshops:
YiPSA has a post-release program where boys who are released can come and get help. They get help with finding a job, writing resumes, computer lessons. But it seems to be hard to get grip on the boys to get them in the post-release program.
The aim of YiPSA’s creative arts workshops/ program:
One volunteer says the aim is to empower youth with life-skills, so they can be changed and rehabilitated. But paper-wise they are working towards empowering life-skills but in reality it is not always clear. The staff-member says creative arts is a creative life-skill session, because sometimes when talking about a difficult topic, the boys are not opening up. Because of using arts the boys can express themselves. The boys have to learn to see that they’ve done something wrong, so they’ve to reflect on themselves so they can change their behaviour.
Overall, the boys have to achieve life-skills and be prepared for life after release from prison. To measure the achievements of the program there is no test available. There is no evaluation after a cycle of
workshops. Sometimes there is a short evaluation/ feedback moment after a single workshop, but this is more an informal moment to ask what the boys enjoyed or didn’t enjoy.
Life-skills to be achieved for juvenile offenders:
The staff and volunteers came up with a lot of similar life-skills that they held to be important to achieve for the juvenile offenders. Reading, writing and speaking proper English, because they need these basic skills to survive in society. If they want to get a job, they need to be educated, at least finishing grade 12.
Learning how to behave in society; social skills. Interaction with family and being connected with family, friends and community. Anger management, how to handle peer pressure, substance abuse, sexuality and sexual diseases, relationships, crime and gangsterism. Future plans and goals.
Learning how to cope with certain situations and emotions. Improving their self-awareness.
Life-skills which the boys are already owning:
All boys have different skills, but in general some are able to socialize with other people. Most of the boys are good talkers, not great listeners. They are good communicators and know how to talk to people to get what they want. The know how to socialize but they abuse it to deceive other people. Also, the boys are very motivated to join the program, they are curious and willing to learn, talk and join.
How the creative arts workshops work towards achieving the life-skills:
One intern says YiP’s creative arts workshops are working on the goals and life-skills, but they’re not having them clear. The interns also says that in his opinion the volunteers didn’t seem to have a clear understanding of what the goals are, and how to work towards them, it was never communicated. It looked like the goals for the day were randomly chosen, there was no structure for the program. Another volunteer says that working towards achieving life-skills trough arts is good because the boys are working with the topic in a creative way, so they have to think it through.
Most beneficial features of the creative arts program:
Just being there. Rehabilitation, YiPSA is contributing to that, even though it’s not very big, it’s a point of moving forward. The facilitation of the program itself; getting the boys together, sitting side by side without violence. The facilitators of YiPSA trigger the willing of inmates to change, and create a safe and
comfortable environment wherein the boys can change. Also the facilitators expose them to a world outside of the prison walls full of possibilities, even they’ve committed a crime in the past. The boys tell the facilitators often that they feel good because of YiPSA and they can forget that they’re in prison for a moment. It is a privilege for the boys that there are people from outside come in for them and make them feel different.
Another interviewee says the discussions in smaller groups and the creative assignments when they’re working alone are the most beneficial.
For which part of the program are the boys motivated and less motivated?
Motivated: Boys are to motivate through icebreakers, energising games, teambuilding. These games change their mood. Some boys more motivated for the creative part, others more for discussion. They were all motivated to join the program. Exceptionally boys weren’t motivated, this could be caused by something what happened in the cells between the boys.
Less motivated: Having a discussion with the whole group, hard to keep their attention. And less motivation for serious topics of discussions, like politics. Interested in talking about girls and drugs. Sometimes boys were not motivated for the writing or discussion part because they weren’t good at English or couldn’t write. It seemed to be hard for boys to narrow in and focus on their arts projects if they weren’t motivated initially. On the other hand, those who were focused in on their projects were extremely committed and motivated to finish.
The interviewees have different views on this. Having enough materials for art, sports, games, reading, writing, life-skills. There should be more consistent staff with a few volunteers to support YiPSA; more employees who can stay for a longer period, and volunteers and interns for a longer period.
Creating a more holistic and structured program that works towards developing life-skills. The program should have a start, middle and final period. Starting with asking the boys what they’re interested in, what they want to learn and from there on creating the program. Having an evaluation to test whether they have developed the life-skills.
YiPSA should promote their post-release program more, to get more grip on the juveniles after release. Also, working with other organisations and post-release programs would be good. There are many NGO’s working towards the same goals and perhaps they could send the boys to one in there own community.
Instead of focussing on one topic every week, integrate all topics more into one main topic, that is future focused. For example, letting them make drawings of every subtopic, which they have to integrate in a big painting at the end of the workshop sequence. Another example was given: making a big mural template. First the boys have to write down their hopes, dreams, blessings, prayers, concerns, etc. and drawings. Then, they have to talk about this, and finally paint their wishes, expressions on the mural.
After the results of the interviews were structured, they were compared with the requirements for effective creative arts programs. Table 5 gives an overview of these requirements and how YiPSA is meeting these requirements according to the staff-members.
Table 5
Overview of the requirements for an effective creative arts program and YiPSA’s current creative arts program
Requirements YiPSA
Theory based – in general cognitive behavioural theories
· Cognitive component: learning thinking skills
· Emotional component: awareness, self-expression and self-control
· Behavioural component: learning pro-social ways of acting to achieve goals
The participants have to see that they’ve done something wrong, they have to reflect on themselves to be able to change their behaviour.
Through arts the participants can express themselves.
Multi agency program
· Addressing a number of approaches
· Working together with other organisations + integrate staff from other organisations
YiPSA is not integrating other organisations. The creative arts workshop is only addressing the creative arts
approach; empowering life-skill through creative arts. Life skills and addressing risk factors
· Including Hiv/Aids, sexual education and substance abuse
Paper wise YiPSA is working towards empowering life-skills but in reality this is not always clear. There is no clear understanding of the life-skills that have to be taught. The life-skills / topics for the workshops are randomly chosen from day to day.
Working towards life-skills through arts works good because the participants are working with the topic in a creative way, so they have to think the subject through. Professionalism
· Artist training, done by a professional artist
· All staff should have the same mission and vision, they should agree with the goals and aims of the program.
Volunteers are facilitators. Volunteers are receiving training before they start working. There is most of the time no staff member of YiPSA with the volunteers. Volunteers are mostly students, no professional artists. The mission and vision is not clear to all volunteers. Overall the boys have to achieve life-skills and be prepared for life after release of prison. Which life-skills they have to achieve is not clear.
Active participation of the participants
· Developing the program together
· Using the input of the participants to design the program
· Active role in steering the program
· Creative process should be challenging
The participants are not really participating in the creation of the program, there is no room for them to structure the program, YiPSA does this.
Feedback and reflection
· Commit to the developments of individuals, on social and personal qualities
· Individual feedback on the participants creative performances
· Self-evaluation and reflection
After a single workshop there is a short recap on what the group has done that day, the boys can tell what they’ve learned that day. There is no room for individual feedback. And there is no self-evaluation and reflection.
Table 7 gives an overview to the important requirements and wishes for the creative arts program of YiPSA.
Table 7
Overview of the important requirements according YiPSA staff
Important requirements according YiPSA staff
Addressing the following life-skills:
· Education (at least grade 12)
· Reading, writing, speaking proper English
· Social skills; how to behave in society
· Interaction with family
· Being connected with family, friends and community
· Anger management
· How to handle peer pressure
· Substance abuse
· Sexuality and sexual diseases
· Relationships
· Crime and gangsterism
· Future plans/ goals
· Coping with certain situations and emotions
· Improving self-awareness More consistent staff to support YiPSA
· More employees who could stay for a longer period, and interns and volunteers for a longer period Having enough materials for;
· Art, sports games, reading, writing, life-skills
Working with other organizations and promoting their own post-release program Creating a more holistic and structured program.
· Developing life-skills
· Three clear periods in the program; start-middle-final period
· Asking the participants what they want to learn, and integrating their wishes in creating the program
· Evaluation
Discussion
This study does embrace the first phase of an effectivity research on the creative arts program of YiPSA. The aim of this research is to investigate how the effectivity of YiPSA’s program can be measured. To do so, there are two important issues to answer. First, it is important to clarify which life-skills the juvenile offenders need to achieve through YiPSA’s creative arts program. When the life-skills are determined one will be actually able to measure the life-skills. Second, it is necessary clarify the requirements for effective proven creative arts programs, and to describe the current YiPSA creative arts program. Because in theory, YiPSA’s creative arts program cannot be effective if it does not meet the requirements.
Life-skills
In general the life-skills of the questionnaire are important to the participants according to the results. According to the self-score of the participants, they do not own all the life-skills that are important to them. The life-skills that they do not own are; having friends with a positive influence, making comments that others do not offend, practicing sports, positive leisure activities, not being involved in a gang, accepting authority, talking about sex, drug use, staying out of negative leisure activities, staying out of contact with negative friends/ people.
The fact that the participants find all life-skills important can be explained by the possibility that they have gained knowledge about what they should and should not do. The fact that the juvenile offenders score themselves on not having the skill on the items noted before can be explained by the risk factors of youth crime. Negative peers, negative leisure activities, substance abuse are risk factors for juvenile offending (Burton, 2007).
The life-skills that are held to be important for the juveniles according to the staff-members and volunteers of YiPSA are meeting the life-skills that are important to the juvenile offenders themselves. Notably, the staff-members and volunteers are accentuating the importance of especially those life-skills that are not owned by the participants themselves, according to the outcomes of the self-score. Besides, proper education and good knowledge about the English language are held to be very necessary for future possibilities of the juvenile offenders. The affinity between the lack of life-skills of the juvenile offenders according to their self-score, and the most important life-skills according to the members and volunteers, may conclude that the members and volunteers give an objective reflection. Also, the life-skills mentioned by the staff-members and volunteers are meeting the life-skills of the ‘Questionnaire for Ottery Youth’.
In addition, staff-members and volunteers have noticed that the participants of the program are good talkers, and in that context they have certain social skills. On the other hand, their socials skills are limited and they know how to use their social skills to deceive people. The lack of social skills observed by the volunteers and staff-members can possibly clarify why the juvenile offenders score mostly unimportant on the following skill; not making comments that others may hurt or offend. The YiPSA staff observed another skill by the participants, this skills is their unconditional motivation to join the program and their craving to learn. Motivation will be discussed later on in the discussion.
To reflect to the question ‘Which life-skills do the juvenile offenders need to function
successfully in society?’ it can be concluded that the following life-skills have to be examined in the
effectivity research: Education, social skills, positive relationships with family, positive peers and handling peer pressure, substance abuse, knowledge about sexuality, sexual diseases and
relationships, leisure activities and sports, crime and gangsterism, future plans and goals, emotion regulation, coping skills, improving of self-awareness.
In reflection to the main research question ‘How can the effectivity of YiPSA’s creative arts
program be measured?’ it is worth to underlay the importance of the life-skills with the finding of
the ‘What Works principles’. Research has shown that there are certain requirements that an intervention has to meet to be effective. These requirements are known as the ‘What Works principles’ (McGuire & Priestley, 1999). One of the requirements is the ‘Needs-principle’, which means that an effective intervention focuses on the criminal needs of the juvenile offenders (Van der Laan, 2004). The needs of juvenile offenders can be described in terms of life-skills, according to this study.
YiPSA’s creative arts program and the requirements
An effective program should meet a number of requirements that are held to be effective (Hughes, 2004). The main results of the comparison between the current YiPSA program and the
requirements will be discussed. An effective program is theory based, in general based on cognitive behavioural theories. Somehow YiPSA is based on a cognitive behavioural theory, because the program meets the cognitive component, the emotional component and the behavioural component. But the way YiPSA is working with this theory is not structured and it does not seem to be a clear underlying theory.
YiPSA is not integrating other organisations neither addressing multiple approaches, this is not meeting the requirement of a multiple agency program. YiPSA seems to focus on its own
project and is not looking further to work in cooperation with other organisations, addressing other organisations could be helpful with achieving their goals.
Working towards life-skills and addressing risk factors is one of the main goals of YiPSA. But despite this, the interviewed staff-member remarkts that it is not always clear that YiPSA is actually working towards these goals. There is no clear understanding by both staff-members and volunteers of the skills that have to be taught, and there is no structure in teaching these life-skills.
The program should be professionally carried out, what means that a professional artist should do the artist training and all staff has to have the same mission and vision. In reality,
volunteers, who are students and no professional artists, lead the creative arts workshops. This does not meet the requirement of professionalism, on the other hand, volunteers from all over the world bring their values to the inmates. According to the staff-members of YiPSA this is a valuable point of the creative arts program. Then, the mission and vision is not clear to all volunteers, except for the fact that creative arts is a way to empower juveniles with certain skills. However, the life-skills YiPSA is working towards, are also unclear to the volunteers.
YiPSA’s creative arts workshop is having a duration of three till four months, this is quite a long period, what gives YiPSA the opportunity and possibility to create a relationship with the juvenile offenders and create a holistic and structured program.
Another important requirement for effectivity is an active role of the participants in the program, what means they should help with developing the program and having an active role in steering the program. Currently there is no room for the participants to do so, since YiPSA is
creating and developing the program. And in reality there is almost no structure for the program, the program is changing from day to day.
Then the last important recommendation is to include feedback and reflection. Currently there is a short recap after the workshop on what the group has done that day. But there is no room for individual feedback and self-evaluation and reflection. YiPSA has also no measurement tools to test the results of their program after a period of three till four months.
To reflect to the questions ‘How does YiPSA currently use creative arts as means of
rehabilitation for juvenile offenders?’ and ‘What should a creative arts program look like to rehabilitate juvenile delinquents?’ it can be said that YiPSA is barely meeting the requirements of
an effective arts program out of the literature. This means that YiPSA has a lot of opportunities and goals to achieve to create a more effective program. With respect to the main research question
YiPSA first has to meet the requirements for an effective arts program before an effectivity research on their creative arts program can be done.
Motivation of juvenile offenders
In addition, an important finding of this study is that YiPSA’s program is possibly effective in some way. According to the interviews, the outcome of the most beneficial feature of the creative arts program of YiPSA is the positive feeling that the facilitators give to the inmates. The inmates tell the facilitators that they feel good because of YiPSA and that they can forget that they are in prison. The importance of this can be explained by two underlying theories. First, the positive feeling can be supported by the fact that one of the positive effects of art therapies in prison is the reduction of depression of inmates (Gussak, 2007). The well-being of the juveniles increases at the time that YiPSA is actually doing a program with them. Second, the boys have an unconditional motivation to join YiPSA’s creative arts program. The research of Stewart and Millson (1995) shows that delinquents with a higher motivation for the intervention are having significantly better treatment outcomes compared to those with an average or low motivation. Nevertheless, YiPSA still has to work hard on keeping the juvenile offenders motivated for their program, because most of the juveniles seem to have concentration problems what decreases the motivation. To meet the
motivation and the concentration of the boys it would be good to discuss topics in smaller groups, and stimulate them if they experience problems with focusing and concentration. Also, if
YiPSA will change their program towards the requirements for an effective program, the high motivation of the juveniles will help increasing effectivity of the program.
Limitations of the study
In addition, the strengths and limitations of this study will be discussed. The limitations of this study: the number of participants (n=12) is very low because this study is depending on the cooperation of prisons and youth centres in South Africa. Pollsmoor prison has not given
permission for this research, therefore this study is missing twenty to thirty participants. This low number of participants causes a number of limitations. First, the Cronbach’s alpha could not be calculated for the subscales of the ‘Questionnaire for Ottery Youth’. This means that the internal consistency and the reliability of the questionnaire is unclear, thus measurements are only done on single item level. Second, statistical analyses couldn’t be done on the participants, except for descriptive statistics. Third, it is not possible to generalise the findings of 12 participants to the population of South African juvenile offenders.
The ‘Questionnaire for Ottery Youth’ has a number of limitations as well. First, the
questionnaire is based on the TVA-JJI, but it was not literally translated to English. The TVA-JJI is an instrument that has to be scored by the facilitators of the juvenile offenders within the Dutch youth prisons. The ‘Questionnaire for Ottery Youth’ has transformed the TVA-JJI into a self-score instrument. Because of the low concentration of the South African juvenile offenders and the high number of items of the TVA-JJI, the ‘Questionnaire for Ottery Youth’ is reduced to a shorter
questionnaire. Therefore, the validity of the ‘Questionnaire for Ottery Youth’ is unknown. Also, it is not possible to compare the results of this study to other studies using the TVA-JJI as a self-score instrument.
Second, the questionnaire is written in English, but all participants’ mother tongue is Afrikaans. Therefore, it was very hard for the participants to answer the questions, and translation was needed. Second, the questionnaire is too difficult because of the low school level of the participants, they did not understand all questions, and therefore explanation was needed. Third, because of the lack of English and schooling level, filling out the ‘Questionnaire for Ottery Youth’ took very long, a lot of participants was struggling with their concentration.
Then, the first part of the ‘Questionnaire for Ottery Youth’ exists out of 1A and 1B, 1A can be scored on a scale from 1 -5 and 1B on a scale from 1-7. Therefore, it is hard to compare 1A and 1B with statistical analyses, even in case of a higher number of participants.
Recommendations and future research
To create an effective creative arts program for YiPSA, recommended is to meet the requirements of the literature. Therefore, YiPSA should base their program on the social cognitive theory, and try to implement this as a basis into their program. Also YiPSA should create and develop a structured program together with the juvenile offenders. There should be more room for their wishes; this increases the level of motivation.
Then, it is of importance to work in a structured way towards achieving life-skills for the juvenile offenders. This research suggests that the most important life-skills are divided in the following domains; interaction with peers, autonomy and self-steering, school and future, sexuality and relationships, self-care, dealing with the situation in prison. To empower the juvenile offenders with these life-skills it is very important that all the volunteers and staff-members are informed. They have to know which life-skills have to be achieved and how to work towards achieving them. Also there should be a test or tool to measure if the participants have actually achieved the life-skills. Within the program, there should be more room for individual feedback and individual
attention for the juveniles. Suggested is that every month there is a short individual evaluation of the program and the personal development, i.e. this can simply be done by one volunteer in the corner of the workshop room.
Also, to achieve these life-skills YiPSA should work together with other organisations and integrate staff from other organisations. These organisations can be specialised on different life-skills, i.e. sexuality or substance abuse.
Since YiPSA is working with volunteers, what is very helpful cause YiPSA is an NGO and has a lack of money, the level of professionalism is not high. In the framework of professionalism it is recommended that YiPSA is trying to get art students as volunteers, next to the students of the University of Cape Town. It is recommended that one artist is facilitating the workshop with help of two other volunteers. To increase the level of professionalism it is of importance to provide a proper volunteer manual and to train the volunteers. YiPSA has to make sure that they all have the same mission and vision.
A great opportunity for YiPSA’s creative arts workshops is the duration of the program. Within the period of three months the juvenile delinquents can learn and achieve a lot of positive life-skills. According to the ‘What Works principles’ the duration of the program is depending on the risk to fall into recidivism. The intensity of the program and the duration of the program should be rejected with the recidivism risk. To give an indication, an intensive intervention for a high risk on recidivism claims 40 to 70 per cent of a delinquent’s time for a period of three to nine months (Van der Laan, 2004). This high intensity of the program is not achievable for YiPSA, but when YiPSA starts focussing on a multiple agency approach the intensity of the intervention will increase. This is an opportunity that possibly can improve the effect of the program.
Since this study was a first phase of an effectiveness study, further research is
recommended. This future research should focus on a pre-measurement; measuring the life-skills of the juvenile offenders before the program and an after-measurement; measuring the life-skills of the juveniles after the YiPSA program. To gain more knowledge about the life-skills, it would be useful to translate the TVA-JJI into English, and make sure that the facilitators of the juvenile offenders fill these out, so the results in terms of life-skills can be compared to the Dutch results. Also, future research should focus on measuring if YiPSA is meeting the requirements for an effective creative arts program.
To conclude, this study has generated an overview of the requirements for the effectivity research on YiPSA’s creative arts program. First, YiPSA has to focus on the needs of the juvenile
offenders in terms of life-skills. When YiPSA works clearly towards achieving these life-skills, the effectivity of the program can be measured. Second, YiPSA has to start with meeting the
requirements for effective arts programs before an effectivity research on their creative arts program can be done.
For further research, it would be difficult to measure the effectiveness of YiPSA on
rehabilitation towards reducing re-offending, since it seems hard to follow the juvenile delinquents in South Africa on the long-term. A lot of citizens of South Africa are not registered and are hard to track in the townships and communities. Nevertheless, such a long-term research on rehabilitating and reducing re-offending would be very valuable for the academic literature and the development of reducing youth crime in South Africa.
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Attachment 1
Questionnaire for Ottery youth
QUESTIONNAIRE FOR
OTTERY
YOUTH!
Date: …………
General information
General information
General information
Name Date of birth AgeWhich language do you speak at home?
In which grade are you?
I’ve been in Ottery since
Date: …….. - …….. -
……….
Months:
I’ve been involved with YiP since Date: …….. - …….. - ………. Months: Amount of workshops
Part 1
–
Skills and competences
In this questionnaire you will find some competences and skills that might be necessary for a successful life outside.
EXAMPLE
1a) It is important to read and write properly
How important do you think this skill is for a successful life outside?
Very!! Important I don’t ! Not! ! ! Absolutely
Important! ! ! ! know?! Important! ! not important
"
"
""
"
""
""
Please
mark your score!1b) I’m able to read and write properly
What note would you give yourself currently on this skill on a scale from 1 to 10?
1 is the lowest score and 10 is the highest score.
I can’t ---I can
