Documenting a theater project for incarcerated youth in a New Mexico juvenile detention facility, this book presents the script of a play about prison life, and interweaves the author's creative, self-reflective text (autoethnography). The collaborative experience of writing and staging such a play enacted by prisoners frames a discussion of larger social and political themes in the criminal justice system, and of the complexities of getting juveniles to engage with variously positioned mentors.
Documenting a theater project for incarcerated youth in a New Mexico juvenile detention facility, this book presents the script of a play about prison life, and interweaves the author's creative, self-reflective text (autoethnography). The collaborative experience of writing and staging such a play enacted by prisoners frames a discussion of larger social and political themes in the criminal justice system, and of the complexities of getting juveniles to engage with variously positioned mentors.
Nandita Dinesh teaches theater arts, literature and performance, and oversees the juvenile justice programming at the United World College in New Mexico.
Inhaltsangabe
Table of Contents Introduction One. Wispy Communities and George White Two. Language, Carlos Sadaña and Marcos Gusmán Three. Masculinity and David Villaseñor Four. Psychological Differences, William Jones and Tishia Jackson Five. Education and Tobiah Edwards Six. The Guards Conclusion Epilogue Appendix A: The Original Script of Lives Behind the Walls Appendix B: Extracts from the Script of IFF Kashmir Chapter Notes Bibliography Index
Table of Contents Introduction One. Wispy Communities and George White Two. Language, Carlos Sadaña and Marcos Gusmán Three. Masculinity and David Villaseñor Four. Psychological Differences, William Jones and Tishia Jackson Five. Education and Tobiah Edwards Six. The Guards Conclusion Epilogue Appendix A: The Original Script of Lives Behind the Walls Appendix B: Extracts from the Script of IFF Kashmir Chapter Notes Bibliography Index
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