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The Theatre of Prison: Power and Resistance, Family and the Production of Illegality, Starring the California Department of Corrections

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The Theatre of Prison: Power and Resistance, Family and the Production of Illegality, Starring the California Department of Corrections THE THEATRE OF PRISON: POWER AND RESISTANCE, FAMILY AND THE PRODUCTION OF ILLEGALITY, STARRING THE CALIFORNIA DEPARTMENT OF CORRECTIONS by Michael D. McCamish A Dissertation Submitted to the faculty of the California Institute of Integral Studies in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY with a concentration in Social and Cultural Anthropology California Institute of Integral Studies Committee Chair Richard Shapiro, M.A. San Francisco 2004 © 2004 Michael D. McCamish CERTIFICATE OF APPROVAL I certify that I have read THE THEATRE OF PRISON: POWER AND RESISTANCE, FAMILY AND THE PRODUCTION OF ILLEGALITY, STARRING THE CALIFORNIA DEPARTMENT OF CORRECTIONS at the California Institute of Integral Studies, by Michael McCamish, and that in my opinion this work meets the criteria for approving a dissertation submitted in partial fulfillment of the requirements for the Doctor of Philosophy degree in Social and Cultural Anthropology at the California Institute of Integral Studies. _________________________________________________ Richard Shapiro, M.A., Committee Chair Program Director, Social & Cultural Anthropology California Institute of Integral Studies ______________________________________________ Angana Chatterji, Ph.D. Committee Member Associate Professor, Social & Cultural Anthropology California Institute of Integral Studies _________________________________________________ Mutombo Mpanya Ph.D., Committee Member Professor, Social & Cultural Anthropology California Institute of Integral Studies Michael D. McCamish California Institute of Integral Studies, 2004 THE THEATRE OF PRISON: POWER AND RESISTANCE, FAMILY AND THE PRODUCTION OF ILLEGALITY, STARRING THE CALIFORNIA DEPARTMENT OF CORRECTIONS ABSTRACT The Western prison has proven a failure since its European birth two centuries ago. Imprisoning over two million and still executing its citizens, the United States has become the world’s prison empire with California as the capitol. The media, politicians, the private sector, and a fearfully uninformed public have normalized the prison’s punitive function deep into the American values and consciousness. Families, women, African-American communities, the impoverished, the drug addicted and mentally ill have been the most criminalized and victimized by the violence of this failed experiment. Movements of resistance and alternative visions continue to build, but remain marginalized due to the prison’s foundation of power over communication and knowledge production. This dissertation uses frameworks of feminist and emancipatory anthropology to examine individuals’ experiences within the culture of prison. The experiences extend from the researcher’s volunteer work with educational programs at California’s San Quentin state prison, and through various prison theatre groups in England, Northern Ireland, Germany, and Italy. What is put forth is an analysis of how the prison systemically reproduces a self and social violence. However, despite the violence of prison, this research reveals the resiliency and capacity of the human spirit to resist and find liberation in the face of extreme alienation. Thus, this research attempts to take steps towards the possibility of an alternative way of being without prisons. iv v ACKNOWLEDGEMENTS This research was made possible by the collective efforts of many outside of myself. Here, I would like to give my utmost gratitude to my dear family, friends, colleagues, and stakeholders within the prison community. While the most “individual” part of this process could be seen by some to be the writing, the reality has been that there were many points of that I truly did not believe in myself as a writer, and thought that I could not carry this torch any longer. It was then that the supportive experience or memory, of a friend, family member, colleague, or stakeholder entered my heart and gave me the strength on which to carry me. In that spirit, I must thank all my relations. Foremost, I have to express my appreciation to the many imprisoned and formerly imprisoned men who gave inspiration and direction to this research. From the men in San Quentin and the California Department of Corrections, to the men in the Italian prisons of San Vitorre, San Pietro, and Locri; the men in the German prison of Tegel; the men of the Northern Ireland prison of Maghaberry; the men of the English prison Wellingburough, and those ex-prisoners of the Escape Artists. While I cannot name them all individually because of issues of confidentiality, I wish to specially thank my good friend Paul Malcolm who’s words and art will forever inspire my own. Thank you David Deutsch for your critical and insightful contributions. Also, two men who are still in prison, Steve and Alex, I wish to thank for their artistic talents and contributions. And I must thank Rick Clutchey of the San Quentin Drama Workshop, for inspiring myself and so many others. In each of the prisons, I owe thankful consideration to the staff and guards who made allowances for and contributions to my research. In San Quentin, I owe special thanks to the college program directors Sean McPhedridge and Jody Lewen and the custody staff, Lt. Crittendon and Lt. Neinhuis. I would also like to give grateful consideration to the many people on the “outside” of prison, who facilitated entrances into the above locations. In San Quentin I wish to thank the Alternative to Violence Project community for opening up their intimate circle for my personal growth and research. Within this community, I would like to specially thanks Nancy Nothhelfer for advising and introducing me into this community, Chia Hamilton for her advice and wonderful friendship, Dotty Joos, Mark Thomas, and Pablo Paz. I am also in dept to Ben Aronoff for his giving of time and advice In Europe, I owe many thanks to the individuals and their organizations that formed the European Prison Theatre Traveling Diary, Including, Matthew Taylor of the Escape Artists in Cambridge for introducing me into the community, Mike Maloney of the Prison Arts Foundation in Belfast, Donatella Massimilla of Ticvin in Milan, and Roland Brus and Karen Witthuhn of AufBruch in Berlin. I am also greatly appreciative of Jenny Dunbar, who’s fearless theatre work in Wellingburough provided another partnership for this research. Also special thanks to Brian Maguire of Ireland and Stanley Coleville of Northern Ireland for their important communication and help. All in someway selflessly extended themselves by lodging, feeding, transporting, and advising vi me throughout this research process. I cannot understate the value of their wisdom, conviction, and activism upon my work and life. I am indebted to Professor Angana Chatterji for the high standard of excellence she demands through her own research and unrelenting fight for social justice, to which I can only aspire. I will always be in gratitude to Professor Richard Shapiro for opening up a world of thought and a practice of self-reflection, that facilitated for me a bridge of alliance on which I will continue to cross over. While also, I am thankful for the teachings shared with me by Professor Mutumbo Mpanya, Professor Matthew Bronson, Professor Lisa Faithorn, Professor Margaret Mackenzie, Professor Dan Alford, and Professor Steve Goodman. Also, I wish to thank the Criminal Justice Department at the University of Tennessee at Chattanooga, and particularly Dr. Shelia Van Ness and Dr. Ken Venters for helping shape my thoughts in regards to the criminal justice system and the people who work and inhabit it. Thank you Dr. Clive Kileff for your advice and our Sunday walks with the “church of the free spirits.” Thank you Candice Chase for teaching me through your wonderful editing and coaching talents. I have been blessed with a community of colleagues and friends through which I have been morally strengthened and am in deep gratitude. I am in debt to Matthew Bronson and Dahlia Miller, whose friendships and beautiful homes provided great reprieves for my writing and nourishment for my soul. I owe a special thanks to Ligaya Hattari for her advise and inspiring writing and research, and also, Amy Smith, Pei-hsuan Wu, Frederick Cloyd, Les Sikos, Lee Flynn, Vannisar Tarakali, and Ritendra Tamang. I am deeply grateful to my housemates, Karen Sandys, Kenoli Oleari, Rob Schuur, Ian Winters, Paige Sorvillo, Michael Pukish, and all of the past and present family members of the Fairview House cooperative in Berkeley, for your support and truly living with me during a very challenging time of life. My research was rejuvenated and informed in various ways by many friendships, including and I am especially thankful for the friendships of: Sonia Gaind, Melissa Miller, Adam and Michele Venker, Sarana Miller; the Network Chiropractic at Emeryville; Maria Lexa, Simone Bloch, Valentina Emori, Maia Scott and the Sun and Moon Ensemble; and my friends of Proskenion and Linea Trasversale. Thank you Joe Luth, for teaching me through your poetry, how to love the world all over. Thank you my dear friends, Jason Mierek and John Mitchum, for your brilliance that shines through your families and loving friendship. Thank you Eric Smith, for a friendship that from the start, has defied all differences. And finally, I am eternally grateful to my family of origin for your unconditional love and support. I would like to thank my ancestors and elders, but particularly three: my Granny Mary Louis Moreland, Great Aunt Mabel, and Papa Dave McCamish, each of whom passed away during my years of graduate study and research. I would like to thank my brother Troy McCamish for listening and understanding, and my sister Kristin M. Bell for taking the brave steps to mend broken fences. To my mom, Marilyn M. McCamish, thank you for demonstrating the power of belief and for investing that belief in your challenging son. To my dad, Dr. DeWayne B. McCamish, which if it were not for vii your support, this research would have never happened. Thank you for a love that needs so few words. Michael McCamish, Berkeley, California viii Table of Contents Acknowledgements...........................................................................................................
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