Counseling in a forensic setting can lead to some difficulties for both prisoner and therapist. Roadblocks such as the client’s discomfort to share vulnerabilities can become hard to break through and bring therapists to standstills. Having other alternatives for clients to express themselves can be a vital part of treatment especially in a forensic setting. While working with juveniles, both male and female, I want to use and educate clients about arts and implement art therapy. Art therapy can be an opportunity for clients to express in a nonverbal way as well as other advantages discussed in this paper. In this paper, the author will discuss what art therapy is, why it will be implemented, safety and boundaries, and art therapy interventions for juveniles.
Art Therapy
Counseling is often an approach in a correctional setting, but while verbal and behavioral treatment is often implemented, it might not be the only treatment that works (Persons, 2009). Art therapy is a non-verbal way to communicate, which can lead to self-expression and exploration for the clients within a forensic setting (Clements, 2004). This non-verbal communication can be a source of protection for the client in a setting that discourages vulnerability and trust. Art therapy can provide a safe way to work through emotions that are otherwise thought of as unacceptable, leading youth toward growth and healing (Clements, 2004). Art has a link to the unconscious and can bring up deeper needs and access more information than normal talk therapy can (Lith, 2015). Art therapy can also be a way to improve self-esteem in youths and has been an effective tool showing a decrease in criminal involvement and delinquent behavior in juveniles (Murphy, Beaty, & Minnick, 2013). Self-esteem is an important developmental part for youths and low self-esteem can have effects on other parts of the youth’s life. Self-esteem has been connected with academic success and higher self-esteem showed a decrease in reoffending (Murphy, Beaty, & Minnick, 2013). This decrease in repeat offenses should always be a goal for correctional facilities, help the youth stay out of the system. It is interesting to note that within a correctional environment, one may already find a natural component of creativity and expression within (Hanes, 2005). The need to create can be seen in many facilities through graffiti, tattoos, and the decoration of envelopes sent to loved ones. These creative expressions allow the individual to work through hard realities and escape into their own fantasy world for small moments (Hanes, 2005). This redirection of energy can lead to more positive outcomes overall for juveniles.
Many situations can attribute to why young juveniles end up in detention centers and some can include family history, substance abuse, or mental illness (Murphy, Beaty, & Minnick, 2013). Juveniles are commonly grouped as offenders instantly without any consideration of other difficulties from mental illness such as depression or conduct disorders (Bennink, Gussak, & Skowran, 2003). Many times, those in the system end up returning to incarceration within 3 years of being released (Persons, 2009). While some of these explanations may explain why juveniles end up in correctional centers, the incarcerated youths may also be subjected to further struggle once in the system. One issue juveniles may struggle with is low self-esteem and loss of identity because of the ‘offender’ and ‘delinquent’ label placed onto them (Murphy, Beaty, & Minnick, 2013). Forensic settings are an unnatural environment where juveniles or prisoners cannot trust anyone and constantly have the fear of being taken advantage of (Fenner & Gussak, 2006). Another factor when working with juveniles and youth is identity development. Identity develops throughout children and adolescents and incarceration can lead to a loss of identity for those youths. Art therapy can help those in prison to reclaim the lost identity and build back self-esteem in a more constructive way (Clements, 2004). Despite the restrictive environments, studies have shown art can be an effective tool for the incarcerated. Arts allow individuals to self-express, to adjust to surroundings, allow for an escape within, and to express thoughts, emotions, and aggressive impulses (Hanes, 2005). While forensic institutions have education programs, many times the arts are cut and not seen as a tool for prison. Although the arts are often seen as unhelpful, some studies have found that the arts can be a better rehabilitation tool than other ‘practical’ educational programs (Clements, 2004).
Safety and Boundaries
Forensic settings are oftentimes structured and strict environments and safety are of the utmost importance for both therapists and clients. Having boundaries and rules must play a role in art therapy in forensic settings. Being aware of time, space, materials, and self-disclosure are significant parts that require a particular balance within the prison environment providing therapeutic effectiveness and security of the facility (Fenner & Gussak, 2006). In an environment where communication and vulnerability are already limited, it is important to provide a safe environment for both groups and individuals. It is important to start the counseling and art therapy relationship with clear boundaries to create a system of safety and comfort for those involved (Fenner & Gussak, 2006). Having a strict environment already places importance on how time is treated in a forensic setting, and counseling and art therapy should continue with this dependability (Fenner & Gussak, 2006). The session will have a start and end time and staying structured should help with avoiding boundary-crossing like tardiness and attendance (Fenner & Gussak, 2006). Having an art studio would be the best setting for group or individual sessions. While a studio might be unrealistic in this setting, a closed-off area for art therapy would make for a responsible environment similar to a counseling session. Lastly, self-disclosure may be an aspect of counseling and art therapy, but it needs to be valuable and constructive to the individual (Fenner & Gussak, 2006).
Interventions
Similar to The Emanuel Project, mural art would be one way I want to implement art therapy within the juvenile correctional setting. This type of program would give youth opportunities to participate in art and learn. The art therapy session would be in group settings with no more than 10 members and be on a weekly basis. The intervention would last for about 4 to 8 weeks and individual art therapy sessions may be continued afterward. Specifically, the intervention goal is to take the juvenile's energy and redirecting it into something more positive and productive (Murphy, Beaty, & Minnick, 2013). This can help those at-risk kids and provides extra support and motivation throughout the program (Murphy, Beaty, & Minnick, 2013). The rationale for this art intervention is to build on self-esteem, which is a big part of youth development (Murphy, Beaty, & Minnick, 2013). Having higher self-esteem has shown a positive effect on academics and lower recidivism, one of the main goals of the art therapy program I want to have (Murphy, Beaty, & Minnick, 2013). I would require materials such as spray paints, paints, and walls of the facility dedicated to the art intervention. Non-toxic material would be required and constant supervisors with the paints would be needed. I would also need security assistance with larger groups of 10 for safety reasons and rapport with the juveniles being worked with. In other programs, inmates became so intertwined into the art-making process that breaks were forced, and extra security was needed to get inmates to take care of themselves like having them eat and hydrate (Argue, Bennett, & Gussak, 2009). A contract of responsibility and appropriate behavior would be required for any of the participants. The intended outcome would be growth and healing for individuals participating, but also pride in completed work and for others in the correctional facility to see the artwork as well. The mural and graffiti aspect of the art intervention would require constant planning and negotiation throughout the process between therapist and members (Argue, Bennett, & Gussak, 2009). This process will allow the group to all come and create their own ideas and then evaluate and work together for the final mural created. After the mural and 4 to 8 weeks are completed, I would like to implement surveys of post art therapy intervention completed from the participant as well as thoughts from other juveniles in the facility. Hopefully, surveys would show the process of creating the mural would lead to an increase in self-esteem and identity as well as greater interest in future counseling and art therapy interventions.
Another intervention and art therapy program I would want to focus on is anger management and coping. This can be either individual or group art therapy. The sessions would be weekly, and groups would be no more than 8 members at a time. The goal of this intervention can be a mixture of anger management and coping, social, and communication skills. The objectives would be to draw from several directives like House-Tree-Person, draw lifeline, draw family, and what it's like to be locked up (Bennink, Gussak, & Skowran, 2003). Activities in these sessions can include art interventions like collage, paper/pencil drawing, painting, and sculptures. I find giving clients options is important and giving members a chance to make decisions gives a greater sense of empowerment (Bennink, Gussak, & Skowran, 2003). One specific objective would be focused on anger management and coping by creating cards. Being able to use collage, painting, drawing, watercolor, and oil pastels. The materials needed for this art intervention would be note cards, paints, pencils, watercolor, oil pastels, magazines, and glue. The use of multiple materials allows expanding visual vocabulary for the clients (Bennink, Gussak, & Skowran, 2003). All materials require supervision especially sharps and glues used in the session. Each session I would want to finish by discussing the artwork created. The end of session art discussion can help members talk about feelings, life, and situations through the artwork and help with social and communication skills (Bennink, Gussak, & Skowran, 2003). These cards would be kept by the art therapist between sessions and once out of the correctional facility can be taken with individuals. These cards would be a way to express emotions and ways to deal with situations. Artwork for clients can reflect inner emotion and become a safe way to disclose vulnerabilities, but also encourage acceptable emotional responses (Bennink, Gussak, & Skowran, 2003). The intended outcome would be for the individual to see overall growth and have a way to work through emotions and aggression. Another hope would be for members to take all the cards created when they leave to use and continue on.
Conclusion
When youths were asked what would keep them out of an adult system in Murphy, Beaty, and Minnick (2013) article, they stated that self-love, self-esteem, positive self-talk, and believing in oneself would be the main factors and I would want my program to mirror those objectives. Focusing on building self-esteem in juveniles, who have been told all they are only ‘offenders,’ can lower self-esteem and damage their identity. A way to evaluate the effectiveness of art therapy in the juvenile rehabilitation setting would be to provide surveys before and after the art therapy is provided (Clements, 2004). Focusing on self-esteem, confidence, anger management, and coping would help gain a better understanding of how art therapy groups in a juvenile correctional facility overall effective. While there are more studies available now than 10 years ago, more research and art therapy need to be implemented to better understand the effects of art therapy and other expressive therapies.
References
Argue, J., Bennett, J., & Gussak, D. (2009). Transformation through negotiation: Initiating the Inmate Mural Arts Program, Arts in Psychotherapy, 36, 313-319.
Bennink, J., Gussak, D. E., & Skowran, M. (2003). The role of the art therapist in a juvenile justice setting. Arts in Psychotherapy, 30(3), 163–173
Clements, P. (2004). The rehabilitative role of arts education in prison: Accommodation or enlightenment? International Journal of Art Design Education, 23(2), 169–178
Fenner, L. & Gussak, D. (2006). Therapeutic boundaries in a prison setting: A dialogue between an intern and her supervisor. The Arts in Psychotherapy, 33, 414-421
Hanes, M. J. (2005). Behind steel doors: Images from the walls of a county jail. Art Therapy: Journal of the American Art Therapy Association, 22(1), 44–48
Murphy, A., Beaty, J., & Minnick, J. (2013). Improving self-esteem through art for incarcerated youth. Corrections Today, pp. 1–5
Persons, R. W. (2009). Art therapy with serious juvenile offenders: A phenomenological analysis. International Journal of Offender Therapy and Comparative Criminology, 53(4), 433–453.
Lith, V. T. (2015). Art making as a mental health recovery tool for change and coping. Art Therapy: Journal of the American Art Therapy Association, 32(1), 5-12
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