Making music in multiple sites

Making music in multiple sites

Annah Mac talks about delivering holistic music programmes in multiple prisons across Aotearoa New Zealand over the past nine years. This interview features in Te Ara ki Runga | The path up, a practical guide for Arts in Corrections educators to be published by Arts Access Aotearoa in September.

1. Ko wai koe? Who are you and what do you do? 

Nō Murihiku ahau

Ko Norwegian rāua ko Scottish ōku iwi

Ko Annah Mac tōku ingoa.

“Gode ord skal du hogge i berg, de dårligere i snø”

Carve your good words in stone, the bad in snow. – Norwegian proverb

I've worked as an independent contractor delivering holistic music programmes to the Department of Corrections for nine years. The journey started in high security at Otago Corrections Facility under the guidance of Sacha Bignell and Sherie Lucke.

In the past 18 months, I’ve delivered 15 programmes to 140 people in prison through the Creative Arts and Cultural Wellbeing Prison Initiative, a partnership between Manatū Taonga Ministry for Culture and Heritage and the Department of Corrections.

This funding  has given me the opportunity and privilege to learn and grow across multiple sites over 2023 and 2024, including at Northland Region Corrections Facility, Hawke’s Bay Regional Prison, Rimutaka Prison, Manawatū Prison, Otago Corrections Facility and Invercargill Prison, with a focus on high security and youth.

I’m very grateful to Chris Ulutupu, former Arts In Corrections Advisor for Arts Access Aotearoa, encouraged me to expand my programme to a nationwide scale and apply for funding to the Creative Arts and Cultural Wellbeing Prison Initiative. I’m also grateful to the ongoing work of Arts Access Aotearoa for the work they do.

2. How did you get involved in this work? 

 I was invited to be a part of a volunteer music programme at Mt Eden Corrections Facility about 14 years ago by Mike Chunn, founder and Creative Director of the Play It Strange Trust.

Seeing the need in this space for creative arts and the lack of access to programmes ignited a passion for the arts as a right and not a privilege in this sector, particularly for high security and remand units.

The local TV series Songs trom the Inside was launched not long after this experience. It featured workshops with people in prison and local musicians I deeply admired. This  further inspired me and provided insight into the possibilities of working in this space.

Developing the programme to deliver at multiple sites after this was a bit of a long game and required a lot of support from loved ones, mentors, colleagues and participants. 

3. What are your top five tips for new arts educators or organisations wanting to deliver arts in prisons?

• Start at one site, and build relationships and your skillset before branching out to other sites. 
• Understand that you are one of many people who want the participants you work with to succeed. 
• Be respectful and do your best to model behaviour even if others speak to you in a rude or unprofessional way. 
• Flexibility is great but don’t compromise your safety. If a situation feels unsafe it is important to report it.
• Consult with participants about thoughts, feelings and whānau days but avoid negotiations for additional things. Stationery, food and medication are tradeable in the prison space, and can lead to squabbles and incidents. 
• Remind yourself that you’re there to provide your time and expertise to support people on their rehabilitation journey. You’re not there to provide additional things beyond the scope of what you have prepared.

 4. What is a highlight of doing this mahi for you?

 For me, a highlight has been the natural collaboration and authentic relationships formed as a result of furthering my knowledge in te ao Māori through Tākina Te Kupu, a Māori language methodology created by Matua Rōpata Pāora.

I fell into the Te Reo ā Ringa programme through a friend and ended up on a four-year learning journey, which led to university and a music therapy pathway. I was inspired by Matua Rōpata Pāora, his whānau and their passion and love for sharing knowledge in te ao Māori and programme creation. 

Another highlight is the people I have met and collaborated with onsite, including facilitator, artist and Kaitiaki of Arai Te Uru Marae Whaea Tania Williams. People I’ve connected with throughout the country, whether it’s staff or participants, have offered guidance or suggestions to improve the programme and helped me evolve my style of delivery.

 It’s a very rewarding place to work.