Steve Emrick never sought to be a leader—but leadership found him. This is the first in a six-part series of posts featuring an interview I conducted with Steve about his three decades running arts programs in California’s prison system.
Sarah: Tell me about your work.
Steve: Currently I oversee all the volunteer programs at San Quentin Prison. My office is in charge of reviewing background checks on volunteers. I also manage the program schedule, coordinate with inmate groups’ schedules, review proposals for new programs, and recommend proposals to the warden for approval. Inmates can pitch proposals, but most pitches come from outside groups.
Now, thanks to the passage of Prop 57 last fall, the Department of Corrections gives rehabilitation achievement credits. Prisoners who participate in volunteer programs that pass approval by Corrections are eligible to get time off their sentences. That’s added a whole level of data entry to track attendance and calculate time spent in those programs. I’m the final reviewer, so each time an inmate earns enough hours to have a week off, I’m the final button.
I’m also responsible for big events, such as performances by outside groups, or events organized by inmates like the Breast Cancer Walk or the annual Day of Peace.
Sarah: What does that entail?
Steve: A group submits a proposal, which at San Quentin is called a narrative. For example, the narrative submitted by an inmate group called "San Quentin Cares" said something like, We all have mothers, relatives, and friends with breast cancer and we want to support the cause by doing a walkathon; inmates can contribute money to participate, and people on the outside can contribute via a designated link on the official Breast Cancer Walk website. Or another example of a narrative is the one inmates submitted for the Day of Peace. That one said something like, We want to have a day on the yard that encourages everyone to get along across gang affiliations, religious faiths, and so forth; we want outside people to perform music; we want a treat provided for every inmate.
I review the narrative to make sure it’s realistic based on any number of factors, for example when the prison opens and closes. It all has to jibe. I clean it up and then it goes up several levels of the administrative hierarchy till it reaches the warden. I work in a system that’s paramilitary.
Sarah: Does the prison system consciously emulate the military?
Steve: Yes. The correctional officer, who’s in there with the inmates, is like a soldier. Next comes the sergeant, who oversees a team of correctional officers in a given location in the prison. The lieutenant oversees a whole cellblock, and the captain manages several cellblocks. Above the captains are the associate warden, the chief deputy warden, and the warden.
Sarah: How long have you been in this current position?
Steve: Five years.
Sarah: How long have you worked in the prison system?
Steve: This is my twenty-eighth year.
Sarah: How did you get into this work?
Steve: After getting my MFA in fine woodworking in 1986, I got a yearlong teaching position in a community college in Ridgecrest, in the desert, off Highway 395. The college serves military personnel and their families from the nearby army base. When my contract was about to run out, the local Kern County arts council contacted me about setting up an arts program in a nearby prison. Prison arts programs were on the rise, thanks to the visionary work of Eloise Smith, the first executive director of the California Arts Council, which was started during Jerry Brown’s first governorship. She responded to requests from inmates to set up an arts program and then she helped it expand throughout the state. It became a full-fledged program called Arts in Corrections, funded by the California Department of Corrections.
When I was first approached to work for Arts in Corrections, I said no. My view at that time was that inmates were in prison because they had done terrible things, and they belonged in there. I wanted to stay on the college-teaching track. But like so many MFA grads, I had a whole file of rejection letters. So when I got another call from the council, I went to the interview—and was hired a week later.
That first prison job was at Tehachapi, not far from Bakersfield. I was given a room in the prison. I started teaching drawing, and I brought in other artists to teach other media.
Sarah: What was it like to segue from teaching college students to teaching inmates?
Steve: I found that the inmates were much more dedicated and interesting to work with than the college students I’d been teaching. In prison, you’re working with people who have bottomed out. They latch onto art as avenue of expression and a way to have a different, more positive identity—the Artist.
Eloise had felt from the beginning that inmates would be more receptive to learning from high-level artists than from art therapists who come in with the agenda of getting the inmates to talk about their feelings. A lot of inmates resist the touchy-feely approach—“Oh, I was terrible, I robbed this bank.” The Department of Corrections didn’t want outside artists coming in—they didn’t think artists would be able to handle all the security procedures. But Eloise said it would work. She argued that if inmates were taught art by gifted artists, their engagement with the artistic process would lead them to investigate their own character and be able to contribute better to the community. That’s what finally sold it with the department. And as soon as I started working at Tehachapi, I saw the wisdom of Eloise’s approach.
Sarah: Can you give me an example of the positive impact of this approach on inmates?
Steve: I had a ceramics instructor teaching a group of guys how to throw on the pottery wheel. This inmate, a very awkward, nerdy guy, tall and lanky with thick, scraggly hair, would stand in front during the instructor’s demonstrations, blocking the other inmates’ view. He couldn’t grasp the technique and he was getting really frustrated. The instructor said, “Sit down, breathe, feel your body. We’re each going to make a bowl. Now you’re going to follow exactly what I do. Pull up the clay as slowly as an ant crawling up the side of the bowl.” And so on. Well that day that inmate finally was able to make a hollow form. It was thick and ugly, but it was a hollow form. And the next week, he showed up with a haircut and stood in back of the group so everyone could see. Later I followed up by reinforcing what he was already figuring out—“Yeah, you have to be aware of how you’re impacting the people around you.”
Not that that always happens. But experiences like that hooked me. I felt like I could really help make a difference. Guys would be worried if I didn’t show up. They’d say, “If something happens to you, we’ll never have this class again.” “You can’t just take a week off—we need this class.” I’d never had that experience at the college. There, the students were taking five classes, participating in various clubs—they were spread so thin. But inmates are in a monastic situation. In a cell, there’s time to reflect and think about what they’re going to make. If they get this opportunity to make art, they can focus on it. If they’re into writing, then they’re writing all the time. The guys in the Shakespeare class are walking around the yard practicing their lines in British accents.
Sarah: Were you welcomed by the prison staff?
Steve: Hardly! At the time I was hired at Tehachapi, the mission for corrections was only to keep inmates housed safely. There was no mission to teach them, beyond helping them get a high school diploma. My first day on the job, the warden called me in and said, “I didn’t want this program. Keep your house in order. If I see anything out of line, you’re out of here.” They thought a teacher who was already working in the prison would have been a better bet security-wise. But just a week later, my direct supervisor told me, “I didn’t want to hire you. But I’ve been watching you—you’re all right.” He told me, “That lady [Eloise Smith] wouldn’t stop pushing her agenda for us to hire an artist for this job. She waited us out.”
Bit by bit, the prison staff came around. The warden and officers would walk by the art workshop and see rival gang members communicating, black and white guys sitting next to each other. The workshop was neutral territory.
Sarah: When I first met you, you were working at Deuel Vocational Institute (DVI), a medium-security prison in Tracy.
Steve: That was my second prison job. I left Tehachapi and went to DVI in 1989. I wanted to get closer to San Francisco and Northern California. Tehachapi in an arid and politically conservative region. I prefer Northern California’s landscape and culture.
Next installment: The Kids Melted Under That Praise
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August 2021
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June 2021
- Jun 13, 2021 The Heart Is the Major Target—Part 8: Machines Spilling Out Teachers Jun 13, 2021
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April 2021
- Apr 14, 2021 The Heart Is the Major Target—Part 7: A Waterfall of Inspiration Apr 14, 2021
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February 2021
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December 2020
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November 2020
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October 2020
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August 2020
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- Aug 2, 2020 The Heart Is the Major Target—Part 1: Let's Move Around; We'll Feel Better Aug 2, 2020
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July 2020
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- Jul 6, 2020 Educator Wellness Practice #10: Inhabiting the Dignified Stance of "Adequate" Jul 6, 2020
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June 2020
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- Jun 3, 2020 Educator Wellness Practice #8: Reducing Stress Through Body Scanning Jun 3, 2020
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May 2020
- May 21, 2020 Facebook Live Event: A Conversation About the Impact of Saying Goodbye to Students May 21, 2020
- May 13, 2020 Educator Wellness Practice #7: Setting Intention and Letting Go of Results May 13, 2020
- May 6, 2020 Educator Wellness Practice #6: Practicing Goodwill as Self-Care May 6, 2020
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April 2020
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- Apr 15, 2020 Educator Wellness Practice #3: Apr 15, 2020
- Apr 8, 2020 Educator Wellness Practice #2: Engaging Wisely with News and Media Apr 8, 2020
- Apr 1, 2020 Educator Wellness Practice #1: Breathe ... Keep Breathing Apr 1, 2020
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March 2020
- Mar 25, 2020 Educator Wellness Series for Collaborative Classroom Mar 25, 2020
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May 2019
- May 19, 2019 Managing to Build Bridges - Part 8: Do We Want to Be Right in a Dictionary Sense? May 19, 2019
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April 2019
- Apr 27, 2019 Managing to Build Bridges - Part 7: You Just Need to Find a Good Husband Apr 27, 2019
- Apr 6, 2019 Managing to Build Bridges - Part 6: Human Remains and Cultural Artifacts Apr 6, 2019
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March 2019
- Mar 17, 2019 Managing to Build Bridges - Part 5: Poetry Has No Rules Mar 17, 2019
- Mar 3, 2019 Managing to Build Bridges - Part 4: Dessert Goes to a Different Stomach Mar 3, 2019
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January 2019
- Jan 13, 2019 Managing to Build Bridges - Part 3: I Felt Pretty Stupid Jan 13, 2019
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December 2018
- Dec 9, 2018 Managing to Build Bridges - Part 2: Such a Bad Kid Dec 9, 2018
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November 2018
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October 2018
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September 2018
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August 2018
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July 2018
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May 2018
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April 2018
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March 2018
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February 2018
- Feb 18, 2018 Back to the Garden - Part 4: Mountain Lion Footprints on the Deck Feb 18, 2018
- Feb 3, 2018 Back to the Garden - Part 3: "You're a Good Egg—Happy Easter" Feb 3, 2018
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January 2018
- Jan 15, 2018 Back to the Garden - Part 2: "A Pretty Big Failure" Jan 15, 2018
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August 2017
- Aug 15, 2017 Goodbye Self-esteem, Hello Self-compassion – Part 3: Real Love Aug 15, 2017
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July 2017
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May 2017
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March 2017
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February 2017
- Feb 20, 2017 Dream On - Part 4: A Dream Analysis Technique Feb 20, 2017
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January 2017
- Jan 22, 2017 Dream On - Part 3: Recording Dreams Jan 22, 2017
- Jan 15, 2017 Dream On - Part 2: Dream Recall Jan 15, 2017
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December 2016
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- Dec 12, 2016 Enjoying the Ride of Serendipity Dec 12, 2016
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