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- Author or Editor: Fiona Measham x
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Crime and safety at UK music festivals is a subject of growing concern for festival management, police and festival-goers, bolstered by increasing media coverage of incidents of sexual harassment and sexual assault. To date, however, there has been limited evidence regarding festival-goers’ experiences and perspectives concerning safety, particularly in relation to gender-based violence at music festivals. Using data from a mixed methods pilot study, this article presents the findings of a self-selecting survey of 450 festival-goers which asked respondents about their perceptions of safety and experiences of different crime and harms including gender-based violence at UK music festivals. The findings reveal that most respondents report feeling safe at festivals, but various personal, social and environmental factors may increase or reduce these feelings of safety, and these are gendered. Similarly, although experiences of acquisitive crime, hate crime and stalking were low and broadly similar for women and men, a third of women experienced sexual harassment and 8% experienced sexual assault – significantly higher than the reported levels among male respondents. We argue that festivals must work proactively with key stakeholders and agencies, as well as artists and patrons, to develop clear policies and initiatives to prevent sexual violence.
Accounts of female offenders’ journeys into the criminal justice system are often silenced or marginalized.
Featuring a Foreword from Pat Carlen and inspired by her seminal book ‘Criminal Women’, this collection uses participatory, inclusive and narrative methodologies to highlight the lived experiences of women involved with the criminal justice system. It presents studies focused on drug use and supply, sex work, sexual exploitation and experiences of imprisonment.
Bringing together cutting-edge feminist research, this book exposes the intersecting oppressions and social control often central to women’s experiences of the justice system and offers invaluable insights for developing penal policies that account for the needs of women.
Verity-Fee, Phoenix, Iris and Angel are white, working-class women who are, or who have been, locked out of sight from society in a women’s prison in England. They are just four of the women we have had the privilege of collaborating with over the past five years as part of the work we do delivering a prison education programme called the Inside-Out Prison Exchange Programme1. Our collaborative work and writing in this book is organised into two connected chapters. Chapter 6 is about context. Drawing on our experiences of writing, teaching and learning with women in prison, this chapter outlines the prison-based teaching programme that brought us together and explores our theoretical and conceptual approach. Much of our thinking about the punishment of women and prisons is born out of our many conversations with incarcerated women who have taken part in classes or with whom we have worked over the years. In Chapter 7, we go on to provide a critical reflection of our varied epistemologies on the imprisonment of women. We make no excuses for writing in an emotive way, and, in places, exposing our ‘uncomfortable’ and contradictory perspectives. On the contrary – this is first and foremost a feminist project and as such we celebrate subjectivity and individual experience (Reinharz, 1992), which are particularly impossible to ignore in a prison environment (Liebling, 1999). Chapter 7, is also co-authored with Verity-Fee, Phoenix, Iris and Angel but their names appear before ours in the authorship order, partly because their writings and prison journeys take centre stage.
Four incarcerated women were involved in the project. They are each strong, kind and thoughtful and, like all of us, have flaws (Fine and Torre, 2006). After several years delivering prison education and working within the prison estate, we have learned not to judge or romanticise the women we work with. We understand that some people detained in prison have committed serious crimes. However, we approach our work with a strong sense of humanity, of seeing the humanity in all of us. We also approach our work from the standpoint that people, no matter who they are, should not be defined by the worst thing they have done in their lives. The Inside-Out programme focuses on mutual engagement, learning through dialogue and critical thinking. Inside-Out does not ‘research’ or objectify the inside students who participate in the programme and does not scrutinise their individual offences. All students are known only by a first name or chosen nickname and past offences – of inside or, for that matter, outside students – are not known to the class. Similarly, the Inside-Out Think Tank members that we write with here are serving diverse sentences for diverse offences, but the specifics of those offences are unimportant and not the focus of our work together.
Through a process of working and writing together, the women originally wrote their contributions as part of the ‘World Split Open’ creative writing project discussed in Chapter 6. However, we have continued to work together since, and during that time have been privy to their experiences within, journeys through, and for one of the women, out of the prison system.
The origins of this book lie in collaborative discussions with a group of feminist criminologists, sociologists and psychologists: the Criminal Women Voice, Justice and Recognition Network (CWVJR) who came together to develop research and scholarship which aims to centre women’s voices and lived experiences. This book draws on each co-author’s body of research in their field of expertise and on a range of research projects, practice and activities. As such the aim of this book is to bring together a body of feminist research on ‘criminal women’ that critically examines women’s reasons for engaging in ‘criminal’ activity and the challenges they face in ‘attempting to become women of their own making’ (Carlen et al, 1985: 1).
The authors were inspired by Pat Carlen’s 1985 landmark book made up of four biographical accounts written with four women – Chris Tchaikovsky, Diana Christina, Jenny Hicks and Josie O’Dwyer. ‘Criminal Women tells the stories of four women who, in attempting to become women of their own making, became deeply involved in crime’ (Carlen et al, 1985: 1). Using the narrative/biographical accounts by the four women, Carlen challenged both the ‘othering’ of women who commit crimes and explanations that suggest women should adapt themselves better to social norms. Following the work of Heidensohn (1968) and Smart (1978), Carlen analysed women’s experiences, paying attention to ‘the complex and concealed forms of oppression and social control to which women are subject’ (Smart, 1978, cited in Carlen et al, 1985: 6) and explores the possible options and responses for women in the context of a ‘class riven and deeply sexist society’ (Smart, 1978, cited in Carlen et al, 1985: 6).