Download PDF by Lee Bernstein: America Is the Prison: Arts and Politics in Prison in the

By Lee Bernstein

Within the Seventies, whereas politicians and activists outdoors prisons debated the correct reaction to crime, incarcerated humans assisted in shaping these debates even though a extensive variety of outstanding political and literary writings. Lee Bernstein explores the forces that sparked a dramatic ''prison artwork renaissance,'' laying off gentle on how incarcerated humans produced strong works of writing, functionality, and visible paintings. those incorporated every thing from George Jackson's progressive Soledad Brother to Miguel Piñero's acclaimed off-Broadway play and Hollywood movie brief Eyes . a rare variety of legal programs--fine arts, theater, secondary schooling, and prisoner-run programs--allowed the voices of prisoners to persuade the Black Arts flow, the Nuyorican writers, ''New Journalism,'' and political theater, one of the most crucial aesthetic contributions of the last decade. through the Nineteen Eighties and '90s, prisoners' academic and creative courses have been scaled again or eradicated because the ''war on crime'' escalated. yet via then those prisoners' phrases had crossed over the wall, supporting many american citizens to reconsider the which means of the partitions themselves and, finally, the that means of the society that produced them. by way of the Nineteen Eighties and '90s, prisoners' academic and inventive courses have been scaled again or eradicated because the ''war on crime'' escalated. yet by way of then those prisoners' phrases had crossed over the wall, supporting many american citizens to reconsider the which means of the partitions themselves and, finally, the that means of the society that produced them.

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Additional resources for America Is the Prison: Arts and Politics in Prison in the 1970s

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45 In the 1960s and 1970s this trend continued. Programming increased, but access remained limited. While prisons contain much higher proportions of the poor and people of color than the rest of the United States, prison classrooms historically do not. For example, while San Quentin was 54 percent white in 1968, its college program was 70 percent white. 2 percent of students. 46 In this sharply paradoxical context many incarcerated people benefited from the increase in writing and artistic opportunities available in correctional facilities.

7 The prison building boom of the 1980s and 1990s was closely linked to major political and economic changes of the late 1960s and early 1970s. ”9 In response, law-and-order politics sought to subdue what the government saw as domestic insurgencies. S. capitalism that began with the buildup for World War II. Not all Americans enjoyed the benefits of that economic growth, and in the postwar period some made ambitious efforts to oppose inequality. As the economic crisis deepened during the 1970s, the country saw dramatic surpluses in land, labor, and population amid continuing unrest.

Radical criminologists argued that the rise of coercive policing and incarceration methods were self-conscious reactions to increasingly unruly disempowered communities and their advocates. ”31 Althusser theorized that this domination takes place via either repressive or ideological tactics in order to facilitate the continuous operation of capitalism. Theoretically, capitalist enterprises ensure that workers will show up each day by providing them wages sufficient for basic survival. These enterprises do little, Althusser argues, to ensure that workers agree that capitalism is itself a system beneficial to the laboring class.

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