BLACKOUT WORKPACK FINAL - Lyric Theatre, Belfast · Blackout Blackout was inspired by the true...

BLACKOUT BY Davey Anderson

TEACHER RESOURCE PACK

Written and compiled by Maeve Morgan

Lyric Theatre Creative Learning Department Blackout Project1

When it's black Take a little time to hold yourself

Take a little time to feel around before it's goneYou won't let go but you still keep on falling down

Remember how you save me now from all of my wrongs…

Open upOpen up your heart to me now

Let it all come pouring out There's nothing I can't take

If your sky is falling Just take my hand and hold it

You don't have to be alone, alone yeahI won't let you go

And if you feel the fading of the light And you're too weak to carry on the fight

And all your friends that you count on have disappearedI'll be here not gone, forever holding on


This resource pack has been generously funded by private donors, Belfast Harbour, Phoenix Gas and PCSP.

The work of the Creative Learning department at the Lyric Theatre is funded by the Arts Council of Northern Ireland and Belfast City Council.


Contents: Foreword…………………………………………………………………………………………6

Production Information:

Cast and Creative Team……………………………………………………………………8

Blackout……………………………………………………………………………….............9

Ambition

Re-offending rates………………………………………………………………............10

Interviews

Interview with young offender……………………………………………………….12

Interview with director…………………………………………………………………..17


Activities………………………………………………………………………………………..20

Activity 1: Forum Exercise (40-60 minutes)…………………………............21

− Exercise description

− Relevant Information

− Relating to Blackout

− Instructions

Activity 2: Healthy Relationships exercise (40 minutes)………………….26




− Instructions

Activity 3: ‘Who Am I’ Exercise (40-60 minutes)……………………………..30




− Food for thought


− Instructions

oMicro warm up (10 minutes)

oMain exercise (30-50 minutes)

Activity 4: School Report Exercise (40-60 minutes)…………………………37




− Instructions

Activity 5: Video Debate………………………………………………………………...40

Local Services

Support for Parents………………………………………………………………………..42

Women’s Aid: local groups contact details…………………………………….42

More contact details for teens……………………………………………………….43


F u r t h e r Documentation…………………………………………………………………44

Bibliography……………………………………………………………………….............46

Foreword

My name is Maeve Morgan and I am currently on placement with the Creative Learning Department at the Lyric Theatre in Belfast. I’m a third year student studying BA (Hons) Drama, Applied Theatre and Education at the Royal Central School of Speech and Drama in London.

Through studying my degree I’ve been fortunate enough to have many opportunities thrust upon me. As part of a team, I have performed a piece of children’s theatre in the Minack Theatre in Cornwall, I have worked with full-time adult carers to produce a show in the Roundhouse in Camden and I have delivered and taken part in workshops with people from all walks of life.


I aim to specialise in the field of Arts in Healthcare and through exploring relevant fields, I have learned a great deal about the power of applied theatre and have seen the value of Arts intervention, especially as a means of promoting well-being. This resource pack aims to reaffirm this value.

Maeve Morgan

Year 3 BA (Hons) Drama, Applied Theatre and Education

The Royal Central School of Speech and Drama

This resource pack is designed to explore and expand on themes surrounding well-being, looking at those introduced in the Lyric Theatre’s production of Davey Anderson’s Blackout. These themes have been considered in relation to the issues faced by young people today. Some of these include experiences of domestic abuse, financial stresses, and social, web and gaming media influences. The pack has been designed to tackle some of these themes and issues in a constructive and healthy manner, using debate, discussion, writing and physicality to express associated responses. It aims to help both within the school system and outside of it, developing transferable skills such as problem-solving, teamwork and self-management.


It aims to encourage young people to think about ways in which we express our identity and how we choose to present ourselves within different situations. Some of the activities have been selected to promote both inward and outward self-expression.

The exercises have been broken up thematically and can be used as individual exercises or as part of a whole lesson plan.

Several additional resources such as outreach information and information about how to seek help when dealing with such sensitive issues have been included throughout and at the end of the pack.

Time to explore!

Cast and Creative Team

Cast:

Thomas Finnegan

Siobhan Kelly

Patrick McBrearty

Owen McCavana

Michael Patrick


Creative Team:

Director: Philip Crawford

Movement Director: David Calvert

Composer: Chris Warner

Designer: Dot Kelly

Workshop facilitator: Ashlene McGurk

Technical Stage Manager: Ashley Smyth

Deputy Stage Manager: Sarah Robb

Production Assistant: David Chapman

Arts Administrator: Bronagh McFeely

Graphic Designer: Shelley Malcolmson

Blackout Blackout was inspired by the true story of a young Glaswegian boy who committed a violent crime. The play opens as a young man wakes up in a prison cell one morning and can't remember how he got there, or what he's done to merit being locked away.

Then he begins to remember. We're taken back to his childhood, a dismal recollection of a wife-beating dad, a granddad dying of cancer, isolation and an addiction to all things violent. We see his oppression and frustration culminate in a court appearance when his future lies in the hands of a judge.


The story, with its strongly physical representation draws us in to the young boy’s story and sheds light on what can affect a young person’s mental state. The isolation felt by the main character is felt by many young people today. We then have to question, after everything that has happened, what comes next?

Ambition Re-offending Rates

This piece aims to heighten awareness of the consequences of committing a crime as a young person. The last ten years have seen a decline in the number of young people aged 18 and under in custody. Despite the number of youths in custody being in decline, re-offending rates are on the rise. An ever-evolving age of modernity has brought with it a whole new set of complexities affecting this impressionable age group immensely. Statistics show that many who have committed a crime reoffend soon after they have been released from custody.

Social media, films and gaming are among many factors which can all affect how a young person develops personally and socially. Through


experiencing James’ story in the play we can see the effects of such stimulus directly.

According to some sources, particular organisations have cited up to 70% of their cohort reoffended following their original custodial sentence.

Adult and Youth Reoffending in Northern Ireland (2012/13 Cohort) findings showed out of the 2,297 young offenders included in the grouping, 692 (30.1%) committed a proven re-offense within a year following being released from custody. Almost half (45.2%) of the 692 who reoffended, committed their first re-offence within the first three months of the observation period.

The figures below show a much higher percentage of reoffending in the Youth Cohort compared to the Adult Cohort. Challenging this group’s behaviour whilst also supporting them to reintegrate back into their community can consequently help to reduce reoffending.


In relation to these statistics, the Lyric’s production of Blackout aims to highlight how fragile a young person can be and how meeting the complex needs of this group both prior to and after leaving custody is incredibly important.

L, Duncan - Department of Justice Northern Ireland (August 2015) 'Adult and Youth Reoffending in Northern Ireland (2012/13 Cohort)', Research and Statistical Bulletin 17/2015, [Online].

Available at: http://www.dojni.gov.uk/index/statistics-research/stats-research-publications/reoffending-stats-and-research/17-2015-adult-and-youth-reoffending-in-ni-201213-cohort-01sep15.pdf


http://www.dojni.gov.uk/index/statistics-research/stats-research-publications/reoffending-stats-and-research/17-2015-adult-and-youth-reoffending-in-ni-201213-cohort-01sep15.pdf

(Accessed: 7th September 2015).

Interviews Interview with young offender

I was fortunate enough to have the opportunity to interview a young man who has been through the criminal justice system. He has seen the truth behind committing a crime, and having to pick up the pieces whenever it’s too late to turn back.

Below is a transcription of our conversation. The views expressed here are of the individual, and do not necessarily reflect the views and opinions of any affiliated organizations.

What is like when you come out?

You feel nervous. It’s scary. You sort of worry about having to sort everything back out like finances, like where you stand, on accommodation, on sort of getting back into the swing of things, and asking yourself, do you still run about with this friend, do you not run about with this friend. Trying to control all of that within you.

Did you have to change who you chose to spend time with?

Your whole perception of life, you have to change that. Big time. I mean, there have been times where I haven’t done that and I’ve just ended up back at square one. I had seven and a half months knowing, THIS is the date I’m getting out. I had seven and a half months of preparation inside my own head, prepping myself for what I needed to Do and what I hadn’t done before to stop myself from going back that way. So the last two weeks, you’re more nervous, you’re more scared, but yet you’re more excited at the same time. You have a final plan in your head – I’m not gonna do this, I’m not gonna hang around with this one, I’m not gonna do that.


Is it hard to stick to that plan?

It is yes, to a certain point. Say you’re in town, and you bump into someone. It’s hard not to say hello, or to say hello and just walk away. It’s hard. You’re young and you’re still curious. You think, maybe he’s not a good influence on me, but anyway, what’s he been up to this last few weeks, you know. You still have that. It’s normal to think that way.

What were you convicted for?

Dangerous Driving

How long was your sentence?

Two and a half years.

What age were you when it happened?

19.

So if you could advise anyone that may be going down that road , what would you say to them?

I wouldn’t do it. I would say to them stop for a second and a have a think about what you’re actually doing before you actually do it. Because sometimes it can be down to peer pressure from say three different people, but yet they’re the first three people to walk away and leave you in the middle of it all. “Yea come on we’ll go do this” – and then they pull out and it sort of leaves you thinking, you know what, you encouraged me to do this so I’m gonna do this to the very end. And then the end is too late. The end is where you’re waking up


in a cell. By that stage you can’t go back and you can’t put the blame on them because they didn’t go through with it.

What was it like when you were in there?

The cops sort of say yeah yeah yeah, you’ll be getting out on bail, no problem. Then it’s like no, you have to stay another night. And you’re thinking right, well this is going to court then. And then you’re thinking’ yea, you’re getting’ remanded. You sort of have to try and brace yourself for the unexpected. People say this happens, people say that happens, and then you get in and you’re sort of welcomed by some and not by others. It depends on the personalities around you, but most of the time you will be welcomed. And you’re told it straight, this is how it is, this is what you do, this is what you don’t do. And you’re told. You’re guided in that way specifically. It is scary. You’re entering a world you’ve probably never been in before. Some people would never have thought they’d ever be in that situation before, they haven’t even had that second to think about like, prison, crime, even the justice system you know.

Well was there any particularly good times, or particularly bad times?

Oh well, I was in over Christmas and stuff and the boys on our landing, there was about 15 of us at the time. Me and another guy, we were the orderlies on the landing, and over time we sort of got the say on the landing of how things went because there were no problems. We had people who were still wearing jail issue clothes. A tracksuit here and a tracksuit there, it doesn’t mean nothing. But by giving him a tracksuit you’re actually stopping him from being bullied for maybe 6 weeks. Its wee things like that – you just want a nice flowing time and you know what, it has happened. I’m out the other side of it now doing other projects and stuff – and that has helped me sort of phase away from it but keep the good content of it you know.

So do you feel better off having gone through the whole process? Do you think if you hadn’t been arrested that you’d be in the same position you’re in now?


No. Definitely not. If I hadn’t been arrested I’d probably be sitting on about 46 thousand pound a year in an administration job. That’s the truth sadly enough. The guy that got the work placement I was on before I started committing all of these offences, he was actually on about a 100 pound a week, the same as what I was on. Within three years, he’s been bumped up to the 46 grand. So yea. But I’m not the person I was then. It has recreated me in a different way, it’s given me a different way of looking at things. And that’s a good thing, because the stuff I do now is more positive and beneficial for me rather than for others. If it’s not going to benefit me, and it might benefit somebody else, yes you might consider it, but really you could be running about all your life trying to help somebody else who doesn’t want to help themselves.

You mentioned other offences, were there many others?

From when I was 18 until now I’ve had three convictions for dangerous driving. For one of them I got 9 months, doing 4 and a half - and on the same day I got a month, in for two weeks. So that was 10 months, doing 5 all in. At this stage this was the first time of me getting a custodial sentence and while I received that custodial sentence via video link, I had sort of calculated that I was getting out that day but it worked out that I had two weeks left. That was the most awkward two weeks. It was the same two weeks I had to think about how I’d move on. But at this stage I had no address, nothing concrete. I got released on the 13th February last year, and got brought back in on the 4th March for the same offence. I’m out from June this year, so nearly 5 months.

How are you feeling about that?

That’s good. I’ve beat my record my miles.

So what has it actually been like, thinking okay clean slate? Where do you actually start?


That’s a good question. I don’t know where I started. Prior to me leaving, about 2 weeks before I left I got a flat from the housing executive, so that sort of took that large chunk of stress away because accommodation is the most severe thing for adolescents. Without that you have to worry about all the factors that come with it. If you have no home and you’re in your mates, you’re squatting in hostels, you’re meeting all different people, and you end up going back to your old ways because it’s the only way you remember surviving. You don’t have a new survival technique apart from what you already know. So getting a place to stay sort of took away a lot of different factors that could’ve sent me down the wrong road again. I feel lucky, yea.

And then what was next for you?

Well then from there, I suppose it’s just loneliness that sort of pulls you back a bit too. So it’s about identifying your good friends and trying to identify the people that’ll be there when you need them to be there. Then there’s trying to find work placements.

What’s it like trying to find work and placements?

Yea it can be pretty hard. I was doing a bit of work a few weeks back but it’s only short –term contracts, like two weeks work and the money’s not too bad but it’s not full-time, that’s what’s hard. So from my perspective if me and you go for the same job, I’m the one with the criminal record. I’m the one with the record regardless of what’s on it. You don’t even have the piece of paper to produce and it sort of works out straight away being, ‘well that guy’s got that blue bit of paper, kick him to the side.’ Which is still hard.

From there, is there anything else you’d like to say or pass on?

I think if you’re young and you see something going on around you and you realise its wrong, or that it might be a criminal offense, you don’t have to necessarily report it, but you can walk away - just take yourself away from it. You don’t have to go down that road because


once you’re down it, it’s just a big hill to the top of it again and you’ll never make it back there unless you do have some level of realising the consequence where you’re thinking differently. That’s it.

Interview with Director

The director (Philip Crawford) explains the process of the project from start to finish:

So, how did this project come about?

Well, the Lyric Theatre runs a course called Drama Studio. It’s for young people (aged 18-25) who are seriously interested in a career in acting. We’ve run it now for 5 years. The group meet every Saturday for 2 terms and it ends with the production of a play, supported by the Lyric’s professional team. 22 young people have gone on to take up places at major Drama Schools in the UK and Ireland in the last 4 years and some have now graduated and are out there looking for work. One of the reasons for the Blackout project was to create work for them.

How many people were you able to offer work to?

There are five young actors in the cast – all from the North of Ireland and recent graduates from Drama Schools. Our Costume and Set Designer came from the Royal Welsh College of Music and Drama and one of our Stage Management team from The Lir Academy in Dublin. We’ve got a student from the Central School of Speech and Drama on placement and she put together this Education pack. The Graphic Design was done by an Intern from the University of Ulster.

Why did you choose this play?

I came across the play through the National Theatre’s Connections festival – when it was written specifically for 13-19 year old youth groups. The Creative Learning department at the Lyric do a lot of work


with Hydebank Wood College in Belfast, a place where young offenders are taken into custody. I’m learning a lot about their lives and the challenges that face them when they return to the community and I’ve been gripped by the fact that many of them want to warn other young about the consequences of breaking the law. This play seemed to do that and appeared to be an effective way to help the Hydebank students in their mission.

The play covers a lot of issues. Are there any you think are particularly important?

When I listen to the stories of many of the boys, I’m really surprised by the crimes they committed: personable, young people who are polite and great to talk to. The one word that keeps cropping up is drugs. It’s difficult enough for many young people to keep their life on track, but once they get involved with drugs, it becomes impossible. I get very angry when I hear very wealthy celebrities bragging about taking drugs – they have the resources to attempt to get themselves out of the situation – others aren’t in that position.

Another key point in the play is that James feels he can’t talk to anyone about the bullying and in particular, about his grandfather’s death. It’s really sad to think that someone might be driven to desperate measure because they feel have no one to listen to them. There are a number of organisations who provide fantastic support for young people in James’ position, but I think we all have to take on some responsibility for caring for other human beings – even if it’s just a smile or a friendly word.

As JB Priestly says in An Inspector Calls: “We don’t live alone. We are members of one body. We are responsible for each other.”

How did the PSNI help you with the production?

Well, if you’re going to do a play about juvenile crime, it would seem sensible to talk to the police to find out more about the whole issue! We talked to some of the officers about the problems that exist around


Northern Ireland and how the play might tie in with some of the crime prevention work they’re doing. However, they were also very helpful in advising us about some of the technical details in the script and even let us rehearse in a real holding cell just to help the actors get a feeling for what James went through.

What sort of research did the actors do?

We spent a morning at a local PSNI station talking to officers and finding out what being arrested and held actually involves. We then went to Hydebank and the staff talked us through the procedures - what happens when a young person is taken into custody. We visited the cells and talked at length to some of the boys who are in there. That was really informative!

It’s not really clear what happens at the end of the play. What do you think happens?

This is an interesting one, because there are a few possibilities. I felt it was important for the actors and I to make a choice on this. What happens after James takes down the posters and pulls the covers over his head and turns the lights out? In theatre, we use the term blackout to indicate the end of a scene. However, this is also the point at which a new scene starts. James has come very close indeed to being sent to prison, but instead he is given a probation sentence. This is a chance for him to make a fresh start, to play the next scene of his life in a different way. I chose to concentrate on a positive note.


Activities Through these activities you will be exploring different responses to the themes that emerge within the play. Some of these themes include Bullying; Media, Social Media and Web influence; Domestic abuse and mental health.

You will be exploring these themes through means such as discussion, writing and in some cases a performance based approach will be taken also.

The activities have been broken down into sections:

1.Exercise Name & Time Frame

• Exercise description

• Relevant Information

• Relating to Blackout

• Instructions

Each exercise has been given a flexible time-frame of 40-60 minutes. It can be completed in 40 minutes but can be developed and taken further if the time allows and if the group are responding well to the material they are working with.


Activity 1: Forum Exercise (40-60 minutes)

• Exercise description:

This exercise will explore some of the scenes in which James recalls negative experiences and the group will be discussing and exploring how things could have possibly gone differently for him. For this exercise you will be using Forum Theatre as a tool to explore how different events affected James.

This exercise can last for anything from 40 to 60 minutes depending on how much time is available and how responsive the group is to the nature of the workshop.


• Relevant Information:

Definition:

Forum Theatre starts similarly to traditional theatre in that an audience watches actors perform a play. There is usually a clear protagonist, who is the ‘Oppressed’, who faces different situations of Oppression or difficulty. Often, the play in question halts without a proper conclusion and without any of the issues being resolved.

History of Forum Theatre:

Forum Theatre was invented by Augusto Boal, a Brazilian practitioner who originally started out as a chemical engineer.

He became interested in theatre during a time of great political oppression in his native country of Brazil.

The aim of forum theatre is to raise awareness of issues, problems, oppressions or obstacles not necessarily considered previously by the ‘audience’. Forum theatre scenarios are designed to stimulate audience participation through discussion, interactive role-playing and shared experiences.

Why Forum?

Forum theatre allows for the audience to express their opinions, and test to see if their approach would have worked in the Relevant Information of the play. Boal calls this ‘rehearsal for reality’.


This way, it allows for participants to express their thoughts and opinions to try and instigate social change.

The goals are discovery and empowerment of the individual.

• Relating to Blackout:

The play opens with a word. Imagine. You are asked to put yourself into the shoes of our main character – James. James is our ‘Oppressed’ character that we see face numerous difficulties throughout the play.

James has awoken in a prison cell and desperately wants to know how he has come to be there. He is told by a Police Officer that he has been charged with attempted murder. He is left alone to then question all of his actions that have led him to this conviction.


• Instructions:

Discussion – Having watched the play, ask the students discuss in groups James’ journey to committing his offence. Ask them to isolate certain ‘turning’ points which you feel led to him ending up in the position he was in by the end of the play, e.g. being bullied for having long hair, reading about violent men and women etc.

In leading the exercise, you will need to take on the role of the Joker. The Joker is a middle-man between spectators and actors, in this case between students acting, and students observing.

After this discussion, as the Joker, invite individuals to share some of their thoughts on the story and ask whether there were any specific points at which they felt something could have happened differently. Ask for examples of this. Ask questions such as, would you have acted another way in that situation? An open discussion could be held between class members, led by you.

Performance - After some individual class members have shared their ideas, you will then ask the group whether anyone would like to show their alternative solutions to the problems faced by James in the play. What would they have done in their shoes?

You will invite volunteers to the performance space to play the roles of chosen actors and try out their method.


During this ‘performance’, you will establish that when the word FREEZE is said the performance will halt and the person who has said freeze may suggest a possible alternative to how the scene is playing out so far. They may choose to take over or they can ask the performer in the role to carry out their instruction.

If there is sufficient time left, this exercise can be repeated to look at many of the different suggestions offered. If there is not enough time, inform the group that they will no longer be able to shout freeze and let the drama come to an end.

Finish this exercise by asking the group how effective the exercise was. Were the outcomes offered realistic, or completely obscure and unnatural? There are no wrong answers this is to help the group understand that different actions lead to different outcomes.


Activity 2: Healthy Relationships exercise (40 minutes)

Resources: Cards, string, paper, pen


This exercise will look more closely at the nature of some of the relationships we share. It is not an exercise of right or wrong it is about recognising certain behaviour in relationships. The aim is for the group to debate and discuss as a collective what may be defined as healthy and unhealthy in a relationship.

“81% of teenagers experiencing abuse in relationships never get support.” (www.tender.org.uk Accessed: 7th September 2015)


This exercise has been adapted from a charity organisation known as Tender. Tender engages with young people in promoting healthy relationships and challenges modern day tolerance of abuse.

Tender have offered the following statement on their website:

“Using theatre and the arts, we engage young people in violence prevention workshops within their schools, enabling them to recognise and avoid abuse and violence. These workshops can be adapted to many groups.” (http://tender.org.uk/?page_id=1396 Accessed: 7th September 2015).

Their website includes more information about the work they do and offers free resources on how to approach certain sensitive topics such as pornography and sexual bullying and shaming.

“We recognise at Tender that there are many aspects of relationships which can seem particularly daunting to talk about with young people,


http://www.tender.org.uk

no matter how much you want to keep them safe”. – (http://tender.org.uk/?page_id=1895 Acessed: 7th September 2015)

Any resources can be accessed here: http://tender.org.uk/?page_id=1895

Source: Tender (2015) Our School's Programme, Available at: http://tender.org.uk/?page_id=1396 (Accessed: 7th September 2015).


In an early scene of the play James starts to remember his past and it brings him back to his early childhood. He remembers his father abusing his mother, every day until their imminent divorce. James remembers the effect this had on his mother, as she closed herself off to the world, too embarrassed to show her bruises in public. He remembered that she still held high hopes for him. She always wanted the best for him. He remembered they didn’t talk much.

James experienced this abusive relationship between his mother and father from a young age and was left alone to develop his own response to it. He thought highly of his mother, but did not know how to communicate with her in a healthy way. This may suggest his concept of a healthy relationship may not have been fully grasped as he grew older. This exercise aims to look at how we view relationships and explore what is deemed as ‘healthy’ or ‘unhealthy’.


http://tender.org.uk/?page_id=1895


• Instructions:

For this exercise, you will need to dress the space. Place two pieces of paper on opposite ends of a piece of string (approximately 2 metres) on the floor. One piece of paper will have the word ‘Healthy’ written on it and the other will have the word ‘Unhealthy’ written on it. This will be your scale of measurement from healthy to unhealthy.

Healthy Unhealthy

On separate pieces of paper you will write down several actions that the group must decide where to place along this line. These actions don’t necessarily have to be typically carried out between couples in a romantic relationship; it can be about any type of relationship. This can prove effective in terms of developing discussion, team-work, problem solving and debate.

You will ask the group to place themselves on one side of the line. You then need to call out the following actions and explain that the group are to discuss where it may go along the line of string:

• Kissing (with permission); • Kissing (without permission); • Hitting; • Pushing; • Reading messages; • Looking at personal pictures; • Stopping you from leaving the house;


• Not letting you go out with friends; • Making sure you text them every hour; • Making sure you text them every day; • Telling you what to wear; • Shouting

Feel free to adapt, change or add more actions where you see fit.

When the group make a decision, hand them the piece of paper with the action written on it and ask them to place it along the line.

Ask them why they have placed the piece of paper at that particular area and how they came to that decision. If the group cannot make a decision altogether then this is an opportunity to open it up for debate.

Ask them why they could not agree on a position along the line. Allow for a short debate. This will highlight that these types of relationships are extremely complex and there may be many layers involved.

Repeat this exercise for as many of the actions as you would like/ have time for.


Activity 3: ‘Who am I’ Exercise (40-60 minutes)


In this exercise you will predominately be using discussion and writing to look closely at how we see ourselves in everyday life and how we respond to certain stimulus. Depending on the group, this exercise offers a scope to explore themes in different ways.


The director’s interpretation of the play was heavily influenced by the song ‘I won’t Let you go’ by James Morrison. Here is an excerpt from the song:

If your sky is falling Just take my hand and hold itYou don't have to be alone, alone yeahI won't let you go

While Morrison wrote it as a love song, in the case of Blackout and James’ story, the I in I won’t let you go does not necessarily have to be one single person, but rather many in society, all playing a role to support those in need. In Blackout, James is feeling alone and isolated without anyone to turn to. The song can be a reminder to those who are feeling lost, that there are places and people they can look to for support.

It could be interesting to listen to this song with the above in mind. The song is available on YouTube here:


https://www.youtube.com/watch?v=sgRb_lfIZ6A


In the play James remembers dealing with the traumas of his past and how this has affected his mental health leading him to do the things he has done. He asks the question “How did I get here?” - This is more than just a question of how he got to that jail cell, but how he got to that point in his life. What led him there?

An element of free-writing is included in this exercise and this can be an excellent way to explore the self and begin to understand what makes us who we are. Having seen the play, the students have seen James’ mental health deteriorate in a very upfront way. Combining this with a closer inspection of ourselves, the aim is to create a more dynamic and personal creative form that the group can engage in where we try and see oursselves in a different perspective.

Food for thought:

In Blackout, James struggled to establish himself as a young man in the world and now he must try to rebuild himself again as a young offender. Where can he go from here? This exercise looks at how we, like James might change our attitudes and how this can affect how we view/are viewed in the world. Some questions for debate/consideration throughout the exercise could be as follows:

• Is my attitude practicable? Or naive?

• If you were the victim of crime, would you want to support young offenders?



• Is being unsympathetic and possibly aggressive to people the best way to go about changing their attitude?

• What could come of young people having no one to listen to their problems? Or even choosing not to talk about them?

• How do you make amends when you’ve done something you feel is wrong?

• If you’re feeling isolated, can someone speaking kindly to you for once, or smiling at you, make an impact on your day?

Feel free to raise these throughout the exercise as food for thought.


• Instructions:

Micro Warm-up: (10 minutes inclusive) The Sun Shines on

For this exercise ask the group to sit on chairs in a circle. The aim of this game is to remain with a seat in the circle. However to begin the game one person stands in the middle of the circle without a spare seat in the circle. They must say the words “The Sun shines on anybody who…” and they must finish this sentence with a quality, attribute or experience shared by the group. For example, “The sun shines on anybody who got the bus to school this morning” or “The sun shines on anybody with socks on”.

When the person says something that a participant knows to be true about them, they must get up and find a new seat within the circle. They must try and choose a seat far away from their original chair.

The person who was in the middle of the circle will aim to find a seat whilst others are moving, therefore aiming for a new person to then be in the middle of the circle to repeat the phrase along with a new attribute. Repeat this a few times at your discretion. This exercise is a gentle way to introduce thoughts about what we attribute to ourselves and those around us.


Main exercise: ‘Walk like a…’

This exercise requires everyone to have a pen and paper to write with, preferably single sheets of paper, or paper that can be removed from a book. Ask the group to begin by writing “I am” at the top of the page. Ask them to list everything they feel can be attributed to them. For example, “I am…

Scottish;

A girl;

A boy;

A footballer;

Funny;

Tall” etc.

In order not to dwell and to avoid overanalysing the task, give them 1 minute to complete this.

Following this, you will ask the group a series of questions about themselves. After hearing a question, ask them to write down an answer. Give the group 30 seconds to do so before asking another


question. Explain the importance of writing the first thing that comes into their head. Remind them that it is important that they try not to censor themselves and rather to let the answers flow organically.

The questions are as follows:

• What makes me angry?

• What frightens me?

• What gives me hope?

• What do I think that I don’t say out loud?

• When I look in the mirror, what do I see?

Feel free to adapt, change or add more questions where you see fit.

Explain that what they write for this particular section will be for their personal use only and that they will not have to show their responses to anyone.

Ask the group to take the page they have written their ‘I am’ responses on and if they wish to, remove it from their book, fold it up into a small shape and place in a box. Their names should not appear anywhere on this paper as the offering should be anonymous. Keep this with you for the next part of the exercise:

‘Walk like a’

Ensure you have enough clear space for the group to walk around the room freely. Ask the group to stand up and begin to walk around the room at a leisurely pace.

Following this, you will explain that you are about to call out instructions as to how to walk around the space, some of which will be made up, some of which will be called out from what is written anonymously on the papers in the box. Remind them that they must take care what direction they are walking in and that they don’t bump into anyone or anything as they travel


Begin with the following:

Walk like a girl

Walk like a boy

Walk like a toddler

Walk like a busy commuter

Walk like you’re tired

Walk like you’re excited

These can vary and change depending on your preference.

Include also, the instructions on the pieces of paper given to you prior to this exercise. These can be called out after the above instructions or perhaps you might want to fluctuate between the two.

The next instruction is:

Walk like yourself

When the group begins to do this, ask them to freeze and ask an individual to show you how they walk. Ask them why they feel they walk like this. Were any of instructions true to them? Were they tired? Were they tall? Etc.

Ask the group to continue walking again. This time, instruct the group to “Walk like yourself, on a bad day.” Tell the group that they are free to interact with other people as they walk, but only with a word, and they must continue walking. Freeze the group and repeat the instructions with a different individual asking them questions about their response. How did their movement change on a bad day? Ask other members of the group how it felt to interact with others/be interacted with.

Ask the group to continue walking. Change the instruction to “Walk like yourself, on a good day”. Again, tell the group that they are free


to interact with other people as they walk, but only with a word, and they must continue walking. Freeze the group and repeat the instructions with a different individual once more. How did their movement change on a good day? Ask other members of the group how it felt to interact with others/be interacted with. Which felt better? Which was easier to show?

This exercise aims to show that the way in which we choose to present ourselves affects how we interact, how we see other people around us and how we respond to the world around us.

Activity 4: ‘School Report’ Exercise (30-40 minutes)

• Exercise Description: This exercise explores creative writing elements and memory work recalling how previous school life was for the student and developing re-enactments of these. Students are asked to think back to an earlier experience of school-life and create a re-imagining of this time in their life.

• Relevant Information This exercise aims to highlight the changes we undergo throughout school-life. The relationship a teacher has with a student can change and fluctuate as the student grows and responds to the many twists and turns of adolescent life, and unfortunately its conflict occur.

Anti-Bullying week begins on Monday 16th October. The Northern Ireland Anti-Bullying Forum is offering schools and other organisations working with young people a free resource pack if they register online. This will include a range of different activities, presentations, activity plans, Anti-Bullying Week 2015 themed posters and lots more.


You can register your interest in this resource online at http://www.endbullying.org.uk/anti-bullying-week/register-interest/ by entering in your organisations details and clicking ‘Submit.’

Northern Ireland Anti-Bullying Forum is based in Belfast and can be accessed at http://www.endbullying.org.uk/ - (Accessed: 16th October 2015).

Phone number 028 9089 1738

Email address [email protected]

• Relating to Blackout In the play James tells the audience of his school life and how he was bullied and tormented for how he looked. This had a big impact on his approach in life and how he chose to change his appearance and behaviour. James attempts to fight his bullies, as the teacher says “That’s not like you.” The teacher here recognises that James’ behaviour has changed and is now unrecognisable.

• Instructions Below is a list of guided rhetorical questions before the main writing exercise. Ask them the following questions and ask them to think about the answers rather than write them down:

What has school life been like for you so far?

Did you enjoy your classes?

Did you enjoy your friends?


http://www.endbullying.org.uk/anti-bullying-week/register-interest/

http://www.endbullying.org.uk/

mailto:[email protected]

Did you enjoy your teachers?

Did you enjoy it all?

Did you enjoy any of it?

Why is that?

Think back to when you were 14…

What were you studying then?

Were you interested in school or not?

Were you involved in any extracurricular activities?

What might your school report have said?

Feel free to adapt, change or add more questions where you see fit.

After asking these questions, explain to the group that they then have 5 minutes to write down a school report, of what they think their teacher would have said to them when they were younger. This is both a memory and a creative writing exercise, as it can be based on truth, or partially remembered or be completely fabricated.

Following this, ask the group to get into smaller groups of 3 or 4. Ask the group to imagine the report being delivered in a different way, this time as a parent-teacher meeting.

In these groups you will need one person to play the role of the teacher, one to play the role of the student and another 1-2 people to play the role/s of the guardian/s.

Ask the groups to allocate roles and to pick one of their school reports to show back to the rest of the group. Question how they feel the teacher would deliver this review of the student’s behaviour, and how they feel each character would have reacted to hearing this report. Limit them to 1 minute discussion and 4 minute rehearsal time before showing back to the rest of the group.

Repeat this rehearsal process until as many people as possible within the group have had a chance to have their report performed.


If there is time, ask the group if anyone would like to swap roles and try the scene again. Give them 2 minutes to prepare for this before performing. This may prove interesting, as the scene could change drastically.

Following this, have a short discussion with the group as to how they found the exercise. Some examples are as follows: Was it interesting to remember their school life as a younger student? Do you feel you’ve changed? Why is that?

Feel free to deliver this group discussion in whatever way you feel is appropriate for your participant group.

Video Debate: http://www.bbc.co.uk/iplayer/episode/b06jmbv7/panorama-tough-justice-in-britain-texas-style

The above link is of a recent BBC Panorama episode aired on 12th October 2015, titled Tough Justice in Britain – Texas Style, which is available to watch online for the next 11 months. This is a thought provoking exposé of the successes and failures of the criminal justice system.


http://www.bbc.co.uk/iplayer/episode/b06jmbv7/panorama-tough-justice-in-britain-texas-style

Michael Gove, the current Secretary of State for Justice and the former Secretary of State for Education travels to America, to observe a new and radical form of justice. We see the contrast between the current criminal justice system in the UK and the rehabilitation-led revolution occurring in Texas. This new method of justice sees the emergence of specialist courts for those who struggle to break out of a life of crime. The courts aim to steer this cohort away from re-offending and attempt to guide them back into helping society.

Some of the footage shows interviews with those who have been through the criminal justice system and many comment on the effects of prison life:

“Prison is the University of Crime”;

“Prison don’t make you think. Prison don’t make anybody think”.

This new method of justice has seen crime rates fall, prisoner numbers decline and above all they are saving on costs. England and Wales currently have the highest imprisonment rate in Western Europe. With this is mind, are there valuable lessons to be taken from this that we could apply to help put a stop to the “revolving door of re-offending”?


This video offers an interesting topic for debate and discussion on how we might go about tackling youth offending. It raises many questions as to what a truly effective method can consist of. Which type produces the most promising results, detainment and punishment or rehabilitation and support or perhaps elements of both? In small groups, students could discuss both sides of the coin and form an argument using relevant statistics and research to form a well-rounded response. This would develop skills in both verbal and written communication, planning and organising, debating and team-work.


List of local services This section includes a list of contact details for organisations that focus on supporting those in need.

Support for Parents

The following organisations offer support and information for parents concerned about the well-being of their child:

• Parentline Plus: 0808 800 2222 - immediate help for parents 24 hours a day, seven days a week

• Kidscape helpline for parents: 08451 205204 (from 10.00 am to 8.00 pm Monday and Tuesday, from 10.00 am to 4.00 pm Wednesday, Thursday and Friday)

• Anti Bullying Campaign advice line for parents and children: 020 7378 1446 (from 9.30 am to 5.00 pm)

• Childline Anti-bullying Helpline: 0800 44 1111 • Parents Advice Centre Helpline: 0808 801 0722 • Northern Ireland Commissioner for Children and Young People: 028

9031 1616 • Chalky Helpline (Children’s Law Centre), for legal advice: 0808

808 5678 • Northern Ireland Anti-Bullying Forum: 028 9043 1123

Source: http://www.nidirect.gov.uk/bullying-getting-support


http://www.nidirect.gov.uk/bullying-getting-support

Women’s Aid: Women’s Aid are an organisation that supports women and children who have been effected by domestic abuse. There are 10 local Women's Aid groups throughout Northern Ireland. These groups are autonomous and are affiliated to Women’s Aid Federation Northern Ireland, 129 University Street, Belfast, BT7 1H.

Local Women's Aid groups can be contacted directly or through the 24 Hour Domestic Violence hotline: 0800 917 1414

This number is open to anyone affected by domestic violence

More contact details for Teens:

Breathing space: 0800838587

The Samaritans: 08457909090

Childline: 08001111

Lifeline: 0808 808 8000

Aware NI: 028 9035 7820

Website available here: http://www.aware-ni.org/

Aware NI are a charity that works exclusively with people who suffer from depression, generating support and improving awareness.

Help To Heal: 0845 120 3788


http://www.aware-ni.org/

Website www.helptoheal.co.uk

This is a national helpline that provides telephone help and advice for people suffering from family-related problems

Prisoners' Families Helpline: 0808 808 2003

Website: www.prisonersfamilieshelpline.org.uk

The Prisoners' Families Helpline is a free and confidential service for anyone who is affected by the imprisonment of a close family member or friend.

Talk to Frank: 0800 77 66 00

Website: www.talktofrank.com

Ring FRANK anytime and speak to a friendly adviser who's professionally trained to give you straight up, unbiased information about drugs

Youth2Youth: 020 8896 3675

Website: www.youth2youth.co.uk

The helpline for all young people 11-19 years old. Young Person's helpline, run by young people, for young people.

Relate: 0845 456 1310

Website: www.relate.org.uk

Provides relationship support for individuals, couples and families. Offers counselling.


http://www.helptoheal.co.uk/

http://www.prisonersfamilieshelpline.org.uk/

http://www.talktofrank.com/

http://www.youth2youth.co.uk/

http://www.relate.org.uk/

Source: http://www.parenting.co.uk/help/family-helplines.cfm (Accessed 29th September 2015).

Further documentation:

Information:

Northern Ireland Curriculum 2015 - Summary of Relevant Legislation Applicable to Northern Ireland (PSNI, PHA)

Online: http://www.belb.org.uk/Downloads/cpsss_summary_of_legislation_applicable_to_NI.pdf

Northern Ireland Curriculum 2015, Signs and Symptoms of Drug Use

Online: http://ccea.org.uk/sites/default/files/docs/curriculum/area_of_learning/pdmu/drugs/Signs_of_Drug_Use.pdf

Smith, M (M.A), Segal, J (PHD) (2015), Teenager’s Guide to Depression Available at:

http://www.helpguide.org/articles/depression/teenagers-guide-to-depression.htm

Further activities:

Northern Ireland Curriculum 2015, Learning for Life and Work Integrated activity

Online: http://www.nicurriculum.org.uk/docs/key_stage_3/areas_of_learning/learning_for_life_and_work/KS3_LLW_Integrated_Activities/DS_Booklet.pdf

Sipler, E. (2006) 'Personal Development ', The Power of Teachers in a Young Person’s World , The Rationale for Teaching Personal Development in Post Primary schools in Northern Ireland


http://www.parenting.co.uk/help/family-helplines.cfm

http://www.belb.org.uk/Downloads/cpsss_summary_of_legislation_applicable_to_NI.pdf

http://ccea.org.uk/sites/default/files/docs/curriculum/area_of_learning/pdmu/drugs/Signs_of_Drug_Use.pdf

http://www.helpguide.org/articles/depression/teenagers-guide-to-depression.htm

http://www.nicurriculum.org.uk/docs/key_stage_3/areas_of_learning/learning_for_life_and_work/KS3_LLW_Integrated_Activities/DS_Booklet.pdf

Online:

http://www.nicurriculum.org.uk/docs/key_stage_3/areas_of_learning/personal_development/ks3_pd_powerofteachers.pdf

Source: https://www.beyondblue.org.au/resources/family-and-friends/parents-and.guardians/family-guide-to-youth-suicide-prevention/youth-suicide-warning-signs (Accessed: 20th September 2015).

Bibliography Anderson, M. 2012 Masterclass in Drama Education: Transforming Teaching and Learning. London, Continuum International Publishing Group


http://www.nicurriculum.org.uk/docs/key_stage_3/areas_of_learning/personal_development/ks3_pd_powerofteachers.pdf

https://www.beyondblue.org.au/resources/family-and-friends/parents-and.guardians/family-guide-to-youth-suicide-prevention/youth-suicide-warning-signs

BBC (12th October 2015) Panorama - Tough Justice in Britain - Texas Style,

Available at: http://www.bbc.co.uk/iplayer/episode/b06jmbv7/panorama-tough-justice-in-britain-texas-style (Accessed: 13th October 2015).

Beyond Blue (2015) Youth Suicide warning signs,

Available at: https://www.beyondblue.org.au/resources/family-and-friends/parents-and.guardians/family-guide-to-youth-suicide-prevention/youth-suicide-warning-signs (Accessed: 20th September 2015).

Helping Struggling Teens (2009) Freedom and Responsibility Go Hand in Hand,

Available at:

http://www.helpingstrugglingteens.com/ (Accessed: 29th October 2015)

King, J. (2015) 'What Justice?', Justice for You, [Online].

Available at: http://www.why-me.org/what-justice/ (Accessed: 10th September 2015).

L, Duncan - Department of Justice Northern Ireland (August 2015) 'Adult and Youth Reoffending in Northern Ireland (2012/13 Cohort)', Research and Statistical Bulletin 17/2015, [Online].

Available at: http://www.dojni.gov.uk/index/statistics-research/stats-research-publications/reoffending-stats-and-research/17-2015-adult-and-youth-reoffending-in-ni-201213-cohort-01sep15.pdf

(Accessed: 7th September 2015).


http://www.bbc.co.uk/iplayer/episode/b06jmbv7/panorama-tough-justice-in-britain-texas-style

https://www.beyondblue.org.au/resources/family-and-friends/parents-and.guardians/family-guide-to-youth-suicide-prevention/youth-suicide-warning-signs

http://www.helpingstrugglingteens.com/

http://www.why-me.org/what-justice/

http://www.dojni.gov.uk/index/statistics-research/stats-research-publications/reoffending-stats-and-research/17-2015-adult-and-youth-reoffending-in-ni-201213-cohort-01sep15.pdf

Murphy, A. - Tender Volunteer (July 14th 2015) 'Changes in attitude. ‘It will never be me’', [Online].

Available at: http://tender.org.uk/?p=1827 (Accessed: 7th September 2015).

Murphy, A. - Tender Volunteer (August 10th 2015) 'Sex and Relationships Education in Schools', [Online].

Available at: http://tender.org.uk/?p=1850 (Accessed: 6th September 2015).

NI Direct - Government Services (2014) Bullying: getting support,

Available at:

http://www.nidirect.gov.uk/bullying-getting-support (Accessed: 16th October 2015).

Northern Ireland Anti-Bullying Forum (2015) Register,

Available at:


(Accessed: 16th October 2015).

Parenting Support Centre (2014) Child and Family Helplines

Available at: http://www.parenting.co.uk/help/family-helplines.cfm (Accessed 29th September 2015).

Tender (2015) Our School's Programme,


http://tender.org.uk/?p=1827

http://tender.org.uk/?p=1850

http://www.nidirect.gov.uk/bullying-getting-support


http://www.parenting.co.uk/help/family-helplines.cfm

Available at: http://tender.org.uk/?page_id=1396 (Accessed: 9th September 2015).

Women's Aid (2015) 'Women's Aid Annual Survey', News!, [Online].

Available at: http://www.womensaid.org.uk/page.asp?section=00010001001400130005&sectionTitle=Women%27s+Aid+Annual+Survey

(Accessed 8th September 2015)

YouTube, James Morrison (4th August 2015) I won’t let you go,

Available at:

https://www.youtube.com/watch?v=sgRb_lfIZ6A (Accessed: 29th September 2015).



http://www.womensaid.org.uk/page.asp?section=00010001001400130005&sectionTitle=Women%2527s+Aid+Annual+Survey


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