Inspiring Futures: Footprints
Lead Research Organisation:
University of Cambridge
Department Name: Criminology
Abstract
The transformative potential of the arts for men and women in the criminal justice system is well-known to those working in the field yet there are significant challenges to capturing fully and systematically the multiple effects of arts participation. The ability to demonstrate impact is critical for arts organisations whose income is dependent on grants and commissions, particularly in a time of economic austerity. Many existing impact studies have been small-scale evaluations of individual projects in single arts disciplines with short follow-up timescales. Their findings frequently point to positive short-term effects but less is known about the collective and distinct contribution of the arts in criminal justice in the longer-term, for example, to social integration after imprisonment, to desistance from crime, and more broadly to quality of life and the artistic community. There are also important questions about what constitutes robust evidence of arts impact and about the relationship between arts practice and research evaluation. These are the issues that this project will address. The University of Cambridge and the National Criminal Justice Arts Alliance (NCJAA) will work in partnership with 8 organisations from different arts disciplines which engage with different groups of offenders and ex-offenders in prison and in the community across the UK: Geese Theatre; Clean Break; Good Vibrations; Only Connect; Synergy; The Irene Taylor Trust; Open Clasp; Helix Arts, and the Koestler Trust. Through this collaboration, this project will develop a theoretically informed understanding of the contribution of the performing arts in criminal justice and a technically innovative and sustainable participatory evaluation research methodology. Through these activities it aims to facilitate the expansion and embedding of arts initiatives in criminal justice settings and realise the beneficial potential of the arts for people in the criminal justice system.
Planned Impact
A central goal of this project is to develop and facilitate the implementation of an innovative evaluation methodology for arts interventions in criminal justice and other educational and welfare settings. Through the Institute of Criminology's (IOC's) contact with practitioners in prisons and probation and its research collaboration with the NCJAA we aim to maximise the potential for the research to change the landscape of the arts in criminal justice and more broadly across educational and social welfare sectors.
a) Partner arts organisations: the arts organisations participating in the NCJAA 'Inspiring Futures' initiative will be given access to the research instruments including the digital app to adapt and roll-out in their own programmes. In addition, the NCJAA and IOC will facilitate a knowledge exchange event to share learning from the evaluation as part of a 1-day project conference. Overall, the arts organisations participating in Inspiring Futures will benefit from a far more wide-ranging, comparative and detailed evaluation of their work than before, helping them to understand their impact on the participants they reach. Their evaluation skills and resources will be increased: they will be part of a cutting-edge arts impact evaluation community using a theoretically informed evaluation approach with access to an innovative digital research resource
b) Arts organisations, criminal justice policy makers and practitioners: one of the NCJAA's key roles is to act as a conduit between its members and local and national policy-makers including the Ministry of Justice and Her Majesty's Prison and Probation Service (HMPPS) and criminal justice managers. Working with the NCJAA will help the IOC to ensure that its research findings reach these stakeholders and commissioners, leaving them better informed about the impact of arts projects in the criminal justice system and with a better understanding of how such interventions might be used most successfully. As well as increasing understanding and knowledge, these outcomes will help arts organisations to clarify their case for support and resources to key stakeholders and commissioners.
c) People in or at risk of involvement in the criminal justice system: users of the arts programmes will be collaborators in the development and piloting of the evaluation methodology which will facilitate the development of their personal and social skills. In the longer term, the project aims to be of general benefit to people in the criminal justice system, providing them with access to arts interventions and supporting their desistance journey.The aim is that the findings of this research will make it easier - at a national and local policy level - for arts organisations to reach and work with people in or at risk of involvement in the criminal justice system and to benefit them in the long term.
d) The project conference will be publicised to policy makers and practitioners involved in arts evaluations in education, youth and therapeutic and other social welfare settings. The conference audience will learn about the wider potential of the participatory methodology and the use of digital technology in social science evaluations and will have access to the project's online materials and training resources.
e) Staff in criminal justice settings, families of people in the criminal justice system and the general public will gain further insights into the transformative potential of the arts in criminal justice which may serve to change attitudes and (re)generate social bonds and networks.
a) Partner arts organisations: the arts organisations participating in the NCJAA 'Inspiring Futures' initiative will be given access to the research instruments including the digital app to adapt and roll-out in their own programmes. In addition, the NCJAA and IOC will facilitate a knowledge exchange event to share learning from the evaluation as part of a 1-day project conference. Overall, the arts organisations participating in Inspiring Futures will benefit from a far more wide-ranging, comparative and detailed evaluation of their work than before, helping them to understand their impact on the participants they reach. Their evaluation skills and resources will be increased: they will be part of a cutting-edge arts impact evaluation community using a theoretically informed evaluation approach with access to an innovative digital research resource
b) Arts organisations, criminal justice policy makers and practitioners: one of the NCJAA's key roles is to act as a conduit between its members and local and national policy-makers including the Ministry of Justice and Her Majesty's Prison and Probation Service (HMPPS) and criminal justice managers. Working with the NCJAA will help the IOC to ensure that its research findings reach these stakeholders and commissioners, leaving them better informed about the impact of arts projects in the criminal justice system and with a better understanding of how such interventions might be used most successfully. As well as increasing understanding and knowledge, these outcomes will help arts organisations to clarify their case for support and resources to key stakeholders and commissioners.
c) People in or at risk of involvement in the criminal justice system: users of the arts programmes will be collaborators in the development and piloting of the evaluation methodology which will facilitate the development of their personal and social skills. In the longer term, the project aims to be of general benefit to people in the criminal justice system, providing them with access to arts interventions and supporting their desistance journey.The aim is that the findings of this research will make it easier - at a national and local policy level - for arts organisations to reach and work with people in or at risk of involvement in the criminal justice system and to benefit them in the long term.
d) The project conference will be publicised to policy makers and practitioners involved in arts evaluations in education, youth and therapeutic and other social welfare settings. The conference audience will learn about the wider potential of the participatory methodology and the use of digital technology in social science evaluations and will have access to the project's online materials and training resources.
e) Staff in criminal justice settings, families of people in the criminal justice system and the general public will gain further insights into the transformative potential of the arts in criminal justice which may serve to change attitudes and (re)generate social bonds and networks.
Publications
| Title | An Arts Evaluation App |
| Description | We have created an App to help organisations evaluate arts programmes. The App is still under trial, but will be made widely available in due course - this was always intended as a legacy product from the research. |
| Type Of Art | Artefact (including digital) |
| Year Produced | 2024 |
| Impact | We are currently discussing how the App is working with two organisations which are trialling it, but aim to make it widely available in due course. |
| Description | Executive Summary Background, Research Questions and Research Design Inspiring Futures (IF) was an ambitious programme of work, led by the National Criminal Justice Arts Alliance and funded by the Paul Hamlyn Foundation, with the research element funded by the Economic and Social Research Council. It reflected a unique collaboration bringing together leading arts in criminal justice organisations and the University of Cambridge's Institute of Criminology (IoC). Inspiring Futures combined a ground-breaking artistic programme in prisons and the community with embedded participative research. It aimed to advance knowledge into why and how arts interventions affect the lives of people in the criminal justice system and how these effects may be optimised to promote a step- change in arts programmes embedded in criminal justice settings. It also identified the wider impact of these programmes: for programme facilitators and organisers, for the settings in which the programmes were run, for audiences and for the criminal justice and arts sectors overall. With oversight from the National Criminal Justice Alliance the participating arts organisations (selected through an open process) were: Clean Break, Geese Theatre Company, Good Vibrations, Helix Arts, the Irene Taylor Trust, Koestler Arts, Only Connect, and the Open Clasp Theatre Company. These partner arts organisations ran a range of music and drama projects as part of the Inspiring Futures programme. Data collection started in March 2020 and was intended last 24 months. However, the Covid- 19 pandemic and related lockdowns led to significant changes to the IF programme of activities, particularly those in prisons. Prisons entered lockdown regimes on 24 March 2020, and all non-essential work, including all IF work, was suspended indefinitely. After the national lockdown ended, a 5-stage regime framework was introduced which prisons moved between, but there was a further prison lockdown in December 2021 and this remained in place until January 2022, and longer in some establishments. There was therefore a long hiatus before arts activities were reinstated, and fieldwork to observe projects and interview participants was intermittent between 2020 and 2023, with some additional set-backs and delays. Our intention to ensure full-scale follow-ups with participants at three intervals suffered from the extended period of fieldwork, with a necessary concentration of effort in data collection at Times 1 and 2, (start of course, end of course) resulting in a limited sample at Time 3 (10-18 month follow-up). The research builds on notable previous attempts to demonstrate the importance and value of arts programmes and initiatives in criminal justice settings. What is distinctive about the approach in this research is that it consisted of two sets of investigative activities, the first focused on the impact of the arts for participants involved in the programmes (the participant study); the second focussed on the wider impact of the arts programmes, for the arts facilitators and organisations, for the criminal justice and arts sectors, and for audiences (the wider study). The four core research questions were: i) What are the effects of arts programmes in the criminal justice sector? ii) How can these effects be measured in a way 6 that is participatory and inclusive and which is accessible, meaningful and empowering to participants, and builds research capacity amongst arts organisations? iii) How can these effects be collated to establish a collective evidence base for impact which can be further developed and sustained by arts organisations in the future? and iv) How can the evidence of arts impact be disseminated to policy makers and the wider public in order to facilitate a transformation of approaches and attitudes towards people in the criminal justice system? For the arts participant study, quantitative and qualitative data were collected by means of questionnaires, diaries, interviews and participant observations in order to capture the outcomes of attending a course and the processes through which these outcomes were achieved. Where possible a comparison group was set up, comprising people in the same settings who did not attend the arts courses. Comparisons between their responses and participants' responses to the same questionnaires before and after the courses helped to establish course-specific impact. The researchers adopted a participatory approach so that the methods were sufficiently comprehensive, flexible and nuanced to capture the complex and diverse quality of arts impact and to reflect a stance of showing respect for the men and women who participated in the programmes. In the hierarchical worlds of criminal justice agencies this is not always common. At the beginning of the project there was a series of focus group discussions with former participants in arts programmes so as to inform the development of the questionnaires and interview questions. The participation of the arts partner organisations was also invaluable at this stage of development. We also drew on the Intermediate Outcomes Measurement Instrument (IOMI), developed by Rand Europe in partnership with ARCS UK and the University of South Wales (see Burrowes et al., 2013). In addition, the Research Advisory Group (which included members with lived experience of the criminal justice system) provided important input on the development of research instruments and reviewed the project's findings. Our aim has been to deepen understanding of the impact of arts; any limitations of course, are our own, and not those of all who have supported and guided us along the way. Across the full programme of 20 IF activities, the research team conducted 50 participant observations lasting between 1 day and 5 days at a time and 59 interviews with participants, 43 immediately at the end of the programme (Time 2), and 16 between 12 - 18 months after the programme (Time 3). There were 182 participants in the different Inspiring Futures programmes who contributed to any of the questionnaires, diaries or interviews. All participants were over 18 years. 73% (133) identified as male, 8% (15) as female, 1% (2) as a trans-woman and 17% (32) did not give information. Just over 92% (168) of participants were British nationals. Of those who disclosed their ethnicity, 53% (73) identified as White, 17% (23) as Black, 9% (13) as Mixed Race, 5% (7) as Asian, 3% (4) as Gypsy, Roma or Traveller and 12% (16) as another ethnicity. For the wider study, interviews were held with the facilitators of the arts programmes and leaders of the arts organisations to understand their experiences and the impact of this work on their professional and personal lives. Interviews were also held with 20 staff and managers 7 of the criminal justice settings hosting the programmes to collect their perspectives on the effects of the programmes for them and others within the settings and for their organisations. Where courses resulted in a performance and it was feasible, audience feedback was also collected and included public responses to the final Inspiring Futures exhibition of the arts partners' work organised by the National Criminal Justice Arts Alliance. Main findings Participants We explored participant impact in terms of creative development ('creative capital'), their inner lives (wellbeing, self-concept and personal development), and their social worlds and opportunities. Our statistical analyses show small but statistically significant positive changes from the start to the end of the courses across the whole participant sample. Analyses of the responses of participants in male prisons identify similar changes (although not all were statistically significant). In contrast the scores of the comparison group in male prisons show no equivalent trend which suggests that the changes participants reported can be attributed to their attendance and completion of the arts courses. Participants indicated that they had learned new technical or creative skills, and that being able to be creative gave them confidence to try new activities. They described positive shifts in their wellbeing, their self-concept and their personal development. Some said the programmes gave 'meaning' to their lives and a sense of future agency (by attending another project or programme, or by thinking about future aspirations). In terms of self-concept, two particular themes stand out: a growth in self-understanding and greater confidence to challenge oneself and put oneself in new and potentially demanding situations. In terms of personal development both the quantitative and qualitative data indicate that participants felt that they had been given an opportunity to develop new skills and capacities that might make a difference in their future. Some said that their desire to work on their personal development had been reignited or inspired. Participants also reported positively on the social impact of taking part in the programmes and the relationships that were built or strengthened with others, both within and outside the criminal justice settings. Thus there is evidence of 'bonding social capital'; through participation new connections and friendships were formed. Relatedly, some participants felt that attending the arts programmes had brought them closer to their families - to their children, their partners, and parents - because of having something positive and uplifting to share with them, and because of an increased social confidence which had come about through participation. 8 There was also positive evidence of 'bridging social capital'. Participants spoke of developing new or latent skills through the team work on the courses, which they felt they could apply to other areas of life, and which would help them progress to new things. From Time 2 data in particular, participants indicated that positive experiences of programmes had been sustained in memory, attitude and application. The experience of participation had helped people overcome personal barriers, the sense of achievement had promoted positive thinking, or a sense of calm, or had prompted further self-help strategies. In sum, the experience of participation, for some, had served as a catalyst for personal development. This said, Time 3 data indicated that participants had reflected on the need for continuity of involvement and the need for further opportunities to engage in creative programmes. Criminal justice staff and settings Of course, none of the projects could have run without support from senior managers in the criminal justice settings. From interviews with staff in prisons (senior managers, education staff and prison officers), it was clear that some were highly motivated to facilitate the running of arts programmes, whereas some had simply been allocated the task. Several prison staff members indicated that highly structured regimes do not necessarily contribute positively to rehabilitation and saw benefit in creating opportunities for different kinds of activities. Some of the staff who were allocated to oversee the day-to-day running of the programmes participated directly in the activities, whether playing a musical instrument or taking part in a drama game or role play. They tended to find the experience enjoyable and interesting, and also confidence building. Interview data (from both prison staff and prisoners) indicated that the direct participation of staff members in the arts programmes could yield longer-term benefits for relationships between staff and prisoners. The presence of prison staff and managers at performances also demonstrated an important message to participants about the prison's support for the arts activities and the staff's interest in prisoners' achievements. One strong theme here was that staff and prisoners could see each other as 'real people'. As well as the individual and relational legacies of the arts programmes on life within the prison setting, people spoke of a broader cultural impact. Instrumentally the programmes contributed to the prisons' agenda for purposeful activity and rehabilitative programmes, but the courses could also create a 'buzz' within the prison that was energising. Our findings on the impact of arts programmes in individual criminal justice settings, in prisons and in the community, serve as an indicator of the wider collective impact of arts programmes across the criminal justice sector. Specifically, it is possible collectively to see how the arts programmes are making an active contribution to several of HMPPS priorities including Respect, Purposeful Activity and Rehabilitation and Release Planning. We note however that in prisons where 'buy in' to the arts programmes was limited such a contribution remained a possibility rather than an actuality. 9 Arts facilitators and organisations Our study also captured the impact of running arts programmes for facilitators and for leaders of arts organisations. Interviews with facilitators found that however they started their work in the criminal justice system, all were motivated by a desire to make a difference. The precarity of work in the sector affected many facilitators' involvement in the field but despite organisational frustrations and the emotional labour involved, they found the work highly fulfilling and contributed to their own personal development. For the IF partner organisations, CJS work is either all of or a significant portion of their work. Working in prisons in particular is complicated and unpredictable, and for organisations who get their income from this work, last-minute cancellations and changes can be very disruptive. The Covid-19 pandemic highlighted this fragility, but also amplified the resilience of the sector: many organisations were able to move their activities online and come up with innovative and creative ways to continue to provide some activities or resources. Thinking more broadly to the role of the arts programmes within the arts sector, it is evident that the work of these organisations represents a small but significant part of the sector's activities. By reaching communities currently under-served by the arts they make an important contribution to Arts Council England's strategy for 2020-2030 'Let's Create'. Audiences A strand of IF work involved showcasing in prisons and in the community. Performing or sharing work with an audience is important to all the arts partners; it transpired that this was important to many participants too, despite some initial anxiety. For participants, there was hope that sharing their stories or ideas could have positive impact. The arts organisations performed or showed their work in different ways: with a prisoner and prison staff audience, website productions, gigs within prison or in the community (involving ex-prisoners), showcases to a public audience, and digital showcasing. As part of the IF research four audience surveys were conducted. The first three took place after a performance of work from one particular partner. The fourth survey, and the key one to mention here, was of audiences who attended the Inspiring Futures Exhibition held for one week at Rich Mix, a community arts venue in London, and then moved online. Responses, which came mostly from people visiting the in-person event, indicated that these events broadened some people's understandings of criminal justice and perceptions of people with criminal convictions. Other respondents indicated already nuanced views of people with convictions. Free text answers showed recognition of the role of the arts in facilitating rehabilitation. This feedback from visitors to the exhibition, over half of whom had happened upon it and had no connection with the criminal justice system, demonstrated the potential for publicity and information about the arts programmes to positively influence public opinion. We recognise that findings are drawn from a small sample of visitors to one exhibition and there needs to be more research to establish how common such responses might be across different sectors of the population. 10 Conclusion Inspiring Futures was a wide-reaching collaborative research exploration of multiple dimensions to the impact of arts programmes in criminal justice settings. The study's findings reinforce insights from earlier research on the contribution of arts programmes to participants' creative skills development, wellbeing, self-concept, and personal development. There is also evidence of the development of both social capital and bridging capital, and thus possibly to better prospects for desistance. The findings also indicate positive contribution to staff wellbeing and prisoner-staff relationships. One strength of the study is that evaluation has been cross-sector and has been conducted with large numbers of participants at Time 1 and T 2 and over a longer time period than has often been the case. Another is that we have collected both qualitative and quantitative data, avoiding previous 'toolbox/tick box' approaches or approaches which have focused only on reoffending rates, without recognising the complex journeys towards desistance. As a result of its evaluation of multiple arts courses, the IF study has been able to generate unique insights into the similarities and differences regarding the effects of different arts forms. There are many similarities in terms of the positive experiences as described above. At the same time, we noted the following possible differences: drama activities involved embodiment of the self, with participants drawing on earlier life experiences, and subsequently engaging in intensive self-reflection and reflection on their own and others' behaviour. The drama programmes also offered a high degree of flexibility in terms of improvised self-expression. The music programmes provided greater scope for technical skills to be developed - with tangible outcomes. Overall, the distinguishing feature of the IF arts programmes is the focus on 'the social' - social interactions and relationships were intrinsic to the creative activities, learning, desistance-related and other outcomes for participants. This is in contrast to arts activities which are more individually focussed, such as the needlework training provided by Fine Cell Work (finecellwork.co.uk) and individual desistance-oriented frameworks such as IOMI. It was through the interpersonal activities that intra-personal change took place as participants were inspired or prompted by these activities to develop and reflect. Our research creates a sound platform to explore such ideas further. |
| Exploitation Route | Further follow-up with participants if prison access is granted. Also, a criminal record check on those who participated but who have now left prison. Further work on gender differences would also be valuable. |
| Sectors | Government Democracy and Justice |
| URL | https://www.cam.ac.uk/public-engagement/creative-encounters-2024/overview |
| Description | The preliminary findings (unpublished) were used by the 7 arts organisations involved in the research to shape future provision by those organisations in prisons and in the community. We were involved in a whole day event in London with the organisations on 21 March 2024 to showcase what the organisations had achieved. We used this event to gather public views on the activities and research. Publications are in process - both for academic audiences and practitioner audiences. Further research is being planned as a result of the Inspiring Futures Research - and we are contributors to new international networks of people engaged in work on the arts in criminal justice systems. There have been discussions too with policy makers, including the Head of Prison Programmes. |
| First Year Of Impact | 2024 |
| Sector | Communities and Social Services/Policy,Government, Democracy and Justice,Culture, Heritage, Museums and Collections |
| Impact Types | Cultural Societal Policy & public services |
| Description | Partnership with the Criminal Justice Arts Alliance (CLINKS) |
| Organisation | Clinks |
| Country | United Kingdom |
| Sector | Charity/Non Profit |
| PI Contribution | We are working closely with 8 arts organisations (music and drama) who are working with people in prison or ex-prisoners in the community. We are continuing to work with some of the organisations as they trial the App we which developed. |
| Collaborator Contribution | The partners are allowing us to evaluate their work with prisoners or ex-prisoners in the community. |
| Impact | None yet. We Created an App. Also, we participated in an Arts Event to launch the report. March 2024. Films: Inspiring Futures films - Creative Encounters. Launch event: 13 March 2024 17:30-20:30 Exhibition: 14 - 27 March 2024 9am-7pm Links: https://eur03.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DRdah5ZxAJ68&data=05%7C02%7Clrg10%40cam.ac.uk%7C5a53251ea5274724575708dd5ff20b45%7C49a50445bdfa4b79ade3547b4f3986e9%7C1%7C0%7C638772215342687210%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=g4E%2BG5engrVW70aUYJQoIjZqpgAmJzCsR%2BWccIqK%2F2A%3D&reserved=0 https://eur03.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dqk-3aaswxKA&data=05%7C02%7Clrg10%40cam.ac.uk%7C5a53251ea5274724575708dd5ff20b45%7C49a50445bdfa4b79ade3547b4f3986e9%7C1%7C0%7C638772215342712329%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=kfv9qqjpQvAsiWWTbNE%2FxFhsk0fS5pHPFkgA2VkCFF8%3D&reserved=0 |
| Start Year | 2019 |
| Title | Developed an app to evaluate Inspiring Futures |
| Description | This is an app to facilitate participant evaluations of the arts programmes in which they are involved |
| Type Of Technology | New/Improved Technique/Technology |
| Year Produced | 2022 |
| Impact | We are currently piloting this app |
| Description | A presentation and discussion about the Arts. Kettles Yard Museum and Gallery, Cambridge 21st January 2025 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | The PI for the Inspiring Futures Research introduced a discussion about the arts (including the use of the arts in Barlinnie Prison in Scotland) by outlining key findings from the Inspiring Futures research on the meaning and function of the arts in the criminal justice system. |
| Year(s) Of Engagement Activity | 2025 |
| Description | Dec 2021, Porto: Seminar attendance and research presentation at 4-day Social Impact of Making Music Research Seminar (Seminar theme: 'Music in detention'). |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Other audiences |
| Results and Impact | To attend and present initial findings at a 4-day Social Impact of Making Music Research Seminar (Seminar theme: 'Music in detention'). Outcomes: the workshop prompted increased interest in subject areas. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.if.crim.cam.ac.uk/ |
| Description | European Society of Criminology 2021 conference - poster at European Society of Criminology Conference (online) |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Poster and discussion about the research. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.if.crim.cam.ac.uk |
| Description | European Society of Criminology Conference September 2022 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Presentation on music and drama in prisons, links with desistance. |
| Year(s) Of Engagement Activity | 2022 |
| Description | Inspiring Futures Website Blog |
| Form Of Engagement Activity | Engagement focused website, blog or social media channel |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Other audiences |
| Results and Impact | Blog created by Sarah Doxat-Pratt (Research Associate) to generate interest in Inspiring Futures research programme |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.if.crim.cam.ac.uk/blogs |
| Description | Inspiring Futures. Anne Peaker lecture - NCJAA - March 24th 2024 Prisoner Arts in Context: Global Perspectives Thursday 21st November |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Third sector organisations |
| Results and Impact | This was the Annual Anne Peaker Lecture which is always devoted to a topic relating to the arts and criminal justice. We used the opportunity to describe the research undertaken to assess the meaning and function of the arts in the criminal justice system, and discussed the findings of the research and potential impact in the future. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Inspiring Futures. Participation in the University of Cambridge Festival of Ideas public engagement outreach/activity. Participated in a panel of speakers regarding the importance of the arts in relation to desistance from offending. |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | Participated in a panel discussion about the potential importance of the arts for people in prison and ex-prisoners supervised in the community post sentence. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Inspiring Futures. An Evaluation of the Meaning and Impact of Arts Programmes in Criminal Justice Settings |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Third sector organisations |
| Results and Impact | Conference to a wide-ranging audience of arts organisations, students and others, to present our initial findings. |
| Year(s) Of Engagement Activity | 2023 |
| Description | May 2021: Contributor for New Philanthropy Capital (Think Tank) 'Criminal Justice System Mapping' workshop |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Third sector organisations |
| Results and Impact | Contributor for New Philanthropy Capital (Think Tank) 'Criminal Justice System Mapping' workshop: part of NPC's Beyond Bars programme seeking to understand funding in CJS and how that funding maps to need, aiming to help funders, public sector agencies and charities better support those in the system. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.if.crim.cam.ac.uk/ |
| Description | Nottingham University Lecture - Music Department Colloquia (18 October 2022) |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Lecture given in Colloquia series hosted by the Music Department. |
| Year(s) Of Engagement Activity | 2022 |
| Description | Nov 2021, Paris - conference paper - SIMM conference 'The social and cultural commitment of the musician'. |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Other audiences |
| Results and Impact | Paper title: The experience and multi-faceted role of music practitioners working in probation settings. Intended purpose: sharing research ideas and initial findings. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.if.crim.cam.ac.uk/ |
| Description | Oct-Nov 2021 (Paris) - Sarah Doxatt-Pratt (Research Associate) attended seminar & research presentation: Social Impact of Making Music Research Seminar |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Sarah Doxatt-Pratt (Research Associate) attended a seminar & presented research: Social Impact of Making Music Research Seminar. (Seminar theme: 'Social and cultural actions of musicians - Enhancing the dialogue between practitioners and researchers'). |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.if.crim.cam.ac.uk |
| Description | Prisoner Arts in Context symposium. An international symposium at Warwick University on 21st November, 2024 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Prisoner Arts in Context symposium at Warwick University. This was an international symposium which involved the sharing of experiences of doing arts work/research in the context of the criminal justice system. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Signposting prison partners (e.g. HMP Norwich) to other Arts in CJS organisations after the success of the Lullaby Project |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Signposting HMPPS staff to IF/ Arts in CJS organisations, after inquiries to the Institute of Criminology, University of Cambridge. (I.e., extending awareness of benefits of arts in Criminal Justice System (CJS) to new audiences) |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://www.if.crim.cam.ac.uk/ |
| Description | Talk to Ely Life Long Learners (Adult Education) |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Public/other audiences |
| Results and Impact | As part of course on crime and criminal justice |
| Year(s) Of Engagement Activity | 2023 |