Music and Conflict Transformation. Chapter 9: Music Behind Bars

People in prison have to deal with living a hard life.  They experience loss of power, they are rejected by society, and labelled as outcasts.

Prisons are built around retributive justice rather than restorative justice.  Music programs try to rebuild lives…increase self-esteem and confidence, they are an outlet for creativity, emotional expression, pleasurable experience.  From a social aspect it can strengthen social skills, nurture identity, increase concentration, coordination, and motor skills, it creates positive social networks and a new perspective on how to use leisure time.

The chapter begins by describing history of music coming from people who were in jail, or spent time in jail.  The music was an expression of pain, and described the prison experience. The history of the blues is connected to prisons.  Some historical blues songs hold knowledge about the history.  Notable musician- Huddie Ledbetter aka Leadbelly 1889-1949.

The bulk of the chapter outlines Music programs that have been implemented globally and the positive results.  Some of the projects:

Spain. Two cries of Freedom: Gypsy Flamenco from the prisons of Spain.

National music contest for inmates.  Winner gets money and reduced sentence.  People sent in demo tapes, narrowed down to a smaller group which had to play for panel. Two winners recorded a cd of music.  The success of the project and cd lead to provisional parole.

Ireland needs music therapy programs for prisons.  Approx. 77% of prisoners re-offend on release.

Hawaiian prison recording by Brian Wong was recorded on donated equipment. The proceeds from the CD are donated to Crime victim compensation commission- aims to help the victims of crime and create reconciliation between offenders and victims.

Rehabilitation and Transformation- Prison Reform

UK 2002: 76 artists or organizations involved in 650 arts projects in UK prisons, half of the projects are with young offenders

York project with women in prisons.  The women get to create quality music alongside professionals.  Following the music activities, the women get to perform concerts in other prisons around the UK. The project helps build self-esteem, self-confidence.

Men’s project involved a production of Julius Ceaser.  Results showed that inmates did not commit other offences during production, and offence rates dropped by half for 6 months after.

Oslo, Norway. Objective is to improve chances of being able to function in everyday life. Music as expression and to change emotions, a creative outlet. Improve social skills, self-confidence, positive use of time.

Project include 3 phases

1 Music in Prison

2 Music following release

3 Permanent music projects

The Prisons Transformation Project

South Africa The reality of male prison is that you dominate or be dominated.  BBC documentary- Killers don’t Cry”, showed extremely hardened criminals set to a backdrop of dramatic music, a female music therapist helps inmates face their emotions. The gang of criminals all break down in tears, including their leader a man who couldn’t remember how many people he’s killed, but does recall some of the brutal acts he has committed. This breakthrough leads to reconciliation between two rival gangs.

“Music plays an important role in keeping the peace behind bars.  It keeps people’s minds off the negative and provides a healthy outlet for creativity.  It increases empathy and reduces animosity.  With additional research and funding, music could be utilized even more purposeful to amplify the opportunity for self-expression and enjoyment.” (Jones, 2005)

Jones is a man serving a long term sentence in a prison in the US.

Turkish Folk Music- Asik

I chose to explore the music of Turkey, specifically folk music.  I stumbled across folk music that is played by an Ashik.

An Ashik (Azerbaijani: aşıq; Turkish: aşık, Armenian: աշուղ) was traditionally a singer who accompanied his song— be it a dastan (traditional epic story, also known as hikaye) or a shorter original composition—with a long necked lute (bağlama) in Turkish culture and related Turkic cultures. The modern Azerbaijani ashik is a professional musician who usually serves an apprenticeship, masters playing the bağlama, and builds up a varied but individual repertoire of Turkic folk songs.  Below are examples of Asik music from two Turkish musician songwriters.  I find the music and performances to be very intimate and captivating.   I find the music to be very evocative, full of depth and meaning, although I have no idea what they are saying.

Aşik Sümmani- (1861 – 1915) was an Aşik, a singer who performed with a lute, from Narman, Erzurum Province, Turkey

Âşık Veysel, was a Turkish minstrel and highly regarded poet of the Turkish folk literature.

Turkish folk music (Türk Halk Müziği) combines the distinct cultural values of all civilisations that have lived in Turkey and its former territories in Europe and Asia.  It was the most popular music genre in the Ottoman Empire era (spanning 600 years and only ending with the forming of the Turksih Republic 1922). After the foundation of the Turkish Republic, Atatürk asked to make a wide-scale classification and archiving of samples of Turkish folk music from around the country, which was launched in 1924 and continued until 1953 to collect around 10,000 folk songs. In the 1960s, Turkish folk music met with radio and folk musicians like Aşık Veysel, Neşet Ertaş, Bedia Akartürk became the most popular names of the Turkish folk music.