I had the honor of attending my first in-person event with Arts Capacity at Hutchinson Correctional Facility (HCF) in Kansas. As the Program Assistant, I’ve been involved in the organization’s work from behind the scenes for almost a year now, but this was my first time experiencing a live program. Simply put, it was transformative.
After double-checking (and then triple-checking) that I packed the printed programs and surveys, I drove up to the facility. I arrived about 30 minutes early to get my bearings and I’m glad I did. I’ve visited prisons for a criminal justice related club in college, but I knew this experience would be different and I wanted to feel prepared. Unlike my previous experiences, this time I’d have the opportunity to speak to people while they were incarcerated.
When I finally entered the visitor’s entrance, I met with our six guest musicians and Art Capacity’s founder (and talented violinist), Holly Mulcahy. I also met one of Arts Capacity’s board members, Sue Stoecklein who is the former Chaplain of HCF. I was lucky to talk to her about the changes she brought to the facility, specifically in the Spiritual Life Center where the program was hosted.
But what stood out to me the most was how many people recognized her and approached her with warmth and appreciation. The men wanted to talk to Sue and to ask for her advice. It was clear how significant those personal connections were and that spirit carried into their engagement with the program itself.
After each piece, multiple people were ready to share their interpretations and associations. They were actively listening, connecting, interpreting, and responding to the music. The first three works were classical in nature, and as a guest myself, I must remark that they were beautifully performed.
One man commented, “I didn’t think I could like classical music,” but he was surprised by how much he enjoyed the pieces. The second work, Notes from Lockdown, resonated with many in the room. We discussed how the title allowed for a range of interpretations, especially within the context of a correctional setting. The men reflected on the conflict between notes and how it reflected their various emotions.
Not only did the incarcerated men interact with the music of our guest musicians, but they also engaged with the music sung by the choir at HCF. One man remarked after listening to the second choir piece that the low notes of a song represented the low points of his life and the high notes represented God. When the high notes lowered, that was God, “meeting us where we’re at”.
After he shared his interpretation, the room went silent as we considered his words. One man near me commented in response that he was smart and that the men here were like us [people from the “outside”] and we were just one mistake from being like them [the incarcerated men].
The program closed with “Steamroller Blues” by James Taylor and it energized everyone. We all clapped to the beat as Roger Schofield played harmonica. I even witnessed someone move from a seat in the back to the front of the room by the performers because he was so enthralled. The traditionally classical team adapted well to the new music and they were met with respect and appreciation.
After the concert, the room was filled with positive energy. In my seat near the entrance, I had the opportunity to see over 100 incarcerated men walk in with excitement and all leave with comments of appreciation. They were curious about our process, how the program might evolve, when we would return, and how they could be more involved. Their desire to contribute creatively was palpable.
A few men even asked me about the surveys as I collected them at the end. I specified that we read every single one and incorporate their feedback into future programs. Friday’s concert was evidence of that with the addition of a blues song after the genre was requested.
This experience affirmed everything I believe about the power of art, music, and human connection. I am proud to do this work and I can’t wait for the next performance.