"GUTS""Grow Up Today and Support each other"""

<< Background >>Through an innovative approach we wanted to develop a method that could help to reduce reoffending among young (ex) prisoners and offenders. We wanted to help them to set targets for their future and hand them tools to become better and more active citizens. The basic idea of the project was to use rap music and storytelling as a tool to communicate with our target group and as a language for them to formulate their ideas and goals.In the project we aimed to carry out comparative research in the various partner countries to the existing methodologies, to work with storytelling and rap music and above all to the indicators that could define the quality of the interventions. In prison environments where freedom is constrained and tensions are high, music serves as a vital outlet for emotions and a source of solace. Prison music programs, ranging from choirs and bands to songwriting workshops, offer detainees a sense of freedom within their confined spaces. Through music, inmates express themselves, share their stories, and find comfort in familiar tunes, fostering a connection to life outside prison walls. << Objectives >>The overall idea of the project was that young inmates must reflect on their offences and imagine a future without crime. We also wanted to take them back to their youth when they had ambitions and dreams. We wanted them to learn from their mistakes and to formulate ambitions and take steps to realize a better future. Music fosters social connections and community within prisons, reducing feelings of isolation and promoting solidarity among inmates. It serves as a therapeutictool, alleviating stress, promoting relaxation, and aiding in the processing of trauma. Importantly, music contributes to detainees' rehabilitation by instilling discipline, perseverance, and teamwork — qualities crucial for successful reintegration into society. Overall, music in detention transcends mere entertainment, offering hope, empowerment, and avenues for personal growth. In our opinion the project achieved this by working with autobiographical storytelling techniques and writing rap songs. The overall ambition was to create an opportunity to rework the experience related to the crime but also to realize an opportunity for mutual reflection on the experiences shared by all participants.<< Implementation >>1. This project recognises the complexity of the situation for most young offenders and the many factors that direct its trajectory towards an effective outcome. We aimed to carry out comparative research in the various partner countries to the existing methodologies to work with storytelling and rap music and above all the indicators that could define the quality of the interventions (PR.1).2. The model followed throughout the project was of participatory research-action. Operators in the sector and the young inmates themselves were involved as much as possible. They were called to express themselves on the experience of which they were protagonists, to co-construct indicators and criteria for comparing experiences. We shared the outcomes of PR.1 and worked together to co-create a draft version of the methodology (PR.2). Although the project was strongly connected to education and training activities in prisons, the ambition was to develop a method that could also be applied in other settings outside of prison. The tools that we developed can be very useful for all those who work with young people at risk.3. In the third phase of the project and in continuity with the data and ideas that emerged from PR.1 and PR.2, group interventions were co-created and piloted in prisons. In PR.3 we created a focus group around the inmates. Mainly there were staff, organizations involved in probation outside the prison walls and of course the young inmates themselves. Using the collective intelligence of this group with the simultaneous presence of young people was upon the essence of the project: Creating an opportunity to rework the experience related to the crime were young offenders involved for mutual reflection on their experiences and formulating a way forward. This led to the development of the storytelling toolkit, that provides ”ready-made workshop scenarios” that users can put into practice with groups of inmates within their organization or community. Each scenario includes detailed information that supports you in preparing and conducting the workshops effectively.4. In 2023, the second year of the project, an on-line rap festival was planned to be organised, but we switched the festival to 2024. On the other hand, we actively participated and presented GUTS at the big bi-annual EPEA (European Prison Education Association) conference, introducing the storytelling technique and the progress of the project. Then we had the festival in 2024 and invited the press, other organizations, stakeholders, guests etc., and filmed some of the festival for presentation in each country.5. After completing a European project focused on rap music for young offenders in prisons, the value of guidelines and recommendations is clear. These tools serve as invaluable resources for ensuring that the knowledge and insights gained from the project are not only retained but effectively disseminated for broader benefit. Guidelines provide a structured framework for implementing the lessons learned from the project. They offer a roadmap for practitioners, policymakers, and educators to incorporate rap music as a rehabilitative tool within the prison system. By outlining best practices, guidelines streamline the adoption process, reducing the likelihood of missteps and maximizing the potential impact of the project's findings.<< Results >>We worked to build an efficient network between different institutions and different countries where challenges and opportunities within European prisons could be discussed.We had 5 concrete project Project outputs:1. A publication of the research results, which could lead to the identification of integrated intervention models based on the comparison made and the best practices that emerged.2. “Draft of methodology through participatory process”.3. Guidelines and storytelling toolkit.4. Online international Rap festival for young offenders. Also, video recording of some of the festival and uploads on You-Tube. The plan was also to use Spotify, but there were problems to the artist rights. In the festival we involved the Norwegian music academy to talk about music and rehabilitation. Unfortunately, not all the videos could be uploaded on open platforms due to security concerns and confidentiality obligations, but a wide selection was uploaded on our website.5. Recommendations and suggestions on how to make the project replicable, including reports on the piloting results and the festival feedback.An important result was that GUTS recognizes the complexity of the situation of most young offenders and the many factors that drive the path to an effective outcome. We aim for comparative research in the different partner countries to compare existing methodologies that work with storytelling and rap music and, above all, to find indicators for successful intervention in the rehabilitation process.Rap music and storytelling resulted to be a powerful combination that not only provides entertainment, but also creates a platform for expression, awareness and social change. It appeals to young people because of its recognizable stories, its expressive power, its rhythmic and poetic elements, and the community dimension it offers. It often acts as a mirror of their own experiences and emotions, and as a platform for self-expression and creativity.