community music therapy & performance in adolescent mental ... · • youth wantto perform; •...
TRANSCRIPT
CommunityMusicTherapy&PerformanceinAdolescentMentalHealth
ElizabethMitchell,RPMTAPhDCandidate,WesternUniversityRegisteredPsychotherapistMusicTherapistAccredited
Abitaboutme…
• RegisteredPsychotherapist&MusicTherapistAccredited• Musictherapistatamentalhealthtreatmentfacilityfor
adolescents(2007-2012)• MusictherapistatMerrymountFamilySupportandCrisis
CentreinLondon,ON,supportedbyCMTTFgrant(current)• PhDCandidate,WesternUniversity• Part-timeinstructorandclinicalsupervisor,WilfridLaurier
University(2007– present)
Outline
• Definingmusictherapy&communitymusictherapy• Researchsetting• Musictherapist’srole,evolutionofthe“CoffeeHouse”• Researchquestions,methodology,&participants• Results
• Participatoryethos&presentationalformat• “Levelling”:newperspectives,newrelationships• Musicianidentity&resourcebuilding
• Q&A
DefiningMusicTherapy
“Musictherapyistheskillfuluseofmusicandmusicalelementsbyanaccreditedmusictherapisttopromote,maintain,andrestoremental,physical,emotional,andspiritualhealth.Musichasnonverbal,creative,structural,andemotionalqualities.Theseareusedinthetherapeuticrelationshiptofacilitatecontact,interaction,self-awareness,learning,self-expression,communication,andpersonaldevelopment”(CAMT,1994).
MyPhilosophyofMusicTherapy
• Humanistic,client-centered(Rogers,1951)• Resource-oriented(Rolvsjord,2010)• Feminist(music)therapy(Hadley,2006)• Music-centered(Aigen,2014)
• Creativemusictherapy(Nordoff&Robbins,2007)
• Communitymusictherapy(Ansdell,2002)
DefiningCommunityMusicTherapy
“CommunityMusicTherapyisanapproachtoworkingmusicallywithpeopleincontext:acknowledgingthesocialandculturalfactorsoftheirhealth,illness,relationshipsandmusics.Itreflectstheessentiallycommunalrealityofmusicingandisaresponsebothtooverlyindividualizedtreatmentmodelsandtotheisolationpeopleoftenexperiencewithinsociety”(Ansdell,2002,“DefiningCoMT”,para.3).
CommunityMusicTherapy
• Acknowledgedformallyasanapproachtomusictherapyin2002;
• Recognizesthatneitherill-healthnormusiccanbeseparatedfromcontext;
• Involvesworkwithwholecommunities;• A“music-centered”approach(Aigen,2014);• Oftenincludesperformance.
CommunityMusicTherapy:“MakingMusicPossible”
“Theroleofthemusictherapistmayoftenbethatofmakingmusicpossible;whenpeoplehavebeenexcludedfrommusic,whentheydonotallowthemselvestomusic,orwhentheyinotherwaysstruggleforaccesstotheresourcesrequiredformusicalparticipation”(Stige,Ansdell,Elefant&Pavlicevic,2010,p.16).
ResearchContext
• Children’smentalhealthfacilityinOntario• Clients:Adolescents,ages12-17• Dayandresidentialtreatmentprograms• Multi-disciplinaryteamenvironment• Employs1musictherapist
“CoffeeHouse”Rationale
• Youthwant toperform;• Caseloadcannotaccommodateallyouthwhowishto
makemusic;• Performanceisanormativewayofparticipatingin
music;• Challengehierarchicalpower-structuresatfacility;• Recognizingworkplacechallengesfacingstaff,provide
apositiveandrewardingexperienceforthem.
ResearchQuestions
1. WhatelementsoftheCoffeeHousehaveaffordeditssuccesswithinthiscontext?
2. Inwhatways,ifany,doestheCoffeeHouseaffecttherelationshipsamongindividualsatthefacility?
3. Howdoindividualsnarratetheirexperiencesofdevelopmentofmusician-identity?
4. Isthepersonal-identity-narrativeimpactedwhenoneinternalizesanidentityasa“musician”,andifso,how?
Design&Method
• QualitativeResearchParadigm• Narrativeinquiry• Casestudyresearch
• DataCollection• Semi-structuredinterviews• Researcherobservation
• DataAnalysis• Qualitativecoding• Thematicnarrativeanalysis(Riessman,2008)
Participants
• 7youth• 4fromdayprograms• 3fromresidentialprograms• Ages12-17;3male,4female
• 11staff• 1nurse• 2psychologists• 4teachers• 3child&youthcounsellors(CYCs)• 1musictherapist
ParticipatoryandPresentationalPerformanceFields
• EthnomusicologistTurino(2008)suggeststhat“musicisnotasingleartform”(p.20).
• Participatoryperformance:“Therearenoartist-audiencedistinctions”;“theprimarygoalistoinvolvethemaximumnumberofpeopleinsomeperformancerole”(p.26).
• Presentationalperformance:“Situationswhereonegroupofpeople,theartists,prepareandprovidemusicforanothergroup,whodonotparticipate”(p.26).
ParticipatoryEthos
• Successdefinedas”participation”“Ihavefriendsthatworkincommunityschools…andthey’realljealousofwhatwe’redoing…‘Causetheclosestthingtheywouldhaveisliketheirbigfull-scaletalentshowsbut…(laughs)Idon’tknowhowthiswillsound,forthosetalentshowsyouhavetohavetalent.Whereasoursyoudon’t…Ithinkthat’swhatmakesitmorespecial,right?Thatit’sjustthewholecommunitycomingtogether.There’snotthatovertjudgement,andit’snotaboutbeingawesomeandamazing,it’saboutgoingupandtrying”(Teacher4).
ParticipatoryEthos
PerformerCentered• It“existsforitselfandforthepositivethingsthatcome
fromit…the…senseofcommunitythatitbuilds”(Psychologist2).
Inclusive• “I’vebeenreallystruckbythenumberofyouthwhohave
hadlittleornoexposuretomusic…Tomethat’ssad…But,learningthatthisissomethingthatanybodycando,right?…ThatreallyspeakstomyheartwhenIhearthoseexamples…wherethere’llbeayouththatnevereversangforanybody…andthenfindoutthattheycan”(nurse).
PresentationalFormat
Creativity&Individuality• “Somepeoplejudgelike,‘Ohthiskid’slikealoser’,but
theydon’tknowwhattheycanactuallydo”(Youth3).• The“songsthatkidschoosetosingareremarkably
personaltothem”(Psychologist1).• “IfI’mfeelingacertainemotionItrysingingasonglike
that”(Youth7).• “Asong’sneverjustasong”(Youth5).
PresentationalFormat
Support,Witness,Validation• Opportunityto“beanindividual,andbethatinfrontof
otherpeople”(Psychologist2).• “Alotofthesekidshaveproblemswithlikeself-
image…likeIknowIdo.Andithelpsyouwhenyoulikegoupthereandyouhavelikethecouragetogoupthereandeveryoneencouragesyou”(Youth2).
• “It’snot…puttingvalueontheaccomplishment…weputthevalueonthem.”(CYC2).
RelationalAffordances:NewPerspectivesonYouth
Vignette:“Adam”
RelationalAffordances:NewPerspectivesonYouth
Strengths-Based• “Ithinkthestaffenjoyit– theygettoseewhatwecan
do…Peoplearedifferentfromeverydayversuswhenthey’refacingtheirfears”(Youth4).
• Eventisareminderthat“justbecausewedon’tseeitdoesn’tmeanit’snotthere…bothforthesetalentsandforotherstrategiesthattheymayhave”(CYC1).
• Providesstaffmembers“thattrulyauthenticopportunitytosay…‘Holyshit!Thattooksomeguts’”(Psychologist2).
RelationalAffordances:NewPerspectivesonYouth
“It’snicetobeabletoexplainyourselfwhenyoujustwanttogoinyourroomandscreamasloudasyoucanbecausenooneunderstands…Butthenyoucangoupthereandyoucanperformasonganditcansaysomanythings.Maybenotwithyourownwordsbutyouperformitandpeoplearelisteningandpeopleespeciallyinheretheycatchontoit.Theyknowwhatyou’regoingthrough.Andalotofthetimeafterthatstaffwillcomeupandthey’lltalktoyou‘causethey’llgetit”(Youth5).
RelationalAffordances:NewPerspectivesonStaff
Vignette:CYC3
RelationalAffordances:NewPerspectivesonStaff
Staffarenervoustoo.• “Thekidscometousandtheythinkyourlifeisperfect…It’s
nice…forthemtoseethatsomeofusdostruggle.And,puttingourselvesoutthereisdifficult,sowecanrelate”(CYC2).
Staffarehumantoo.• Participationis“aboutlettingourkidsknowthatweare
wholepeople…We’renottitles.We’repeople”(Teacher3).• Attimes,theeventallowsyouthtowitnessstafftaking
themselves“alittlemorelightly”(Teacher1).
RelationalAffordances:Music’s“Levelling”Function
“Providinganopportunityforeveryonetoperform— whetherpatient,doctor,therapist,orjanitor—servestoreinforcethecommonhumanitysharedbyallmembersofthecommunity,acommonalitythatisalltoooftenlostintheinteractionsthatcharacterizeinstitutionalhierarchies(Aigen,2012,“PerforminginanInstitutionalSetting”,para.3).
NewMusicalIdentities:Youth
• “ItkindofmakesyouhappytoseepeoplelikebeinghappythatI’msingingandlikegoodatsinging.CausejustlikeI’veneverkindoffeltthat…Ifeelsoaccomplished”(Youth1).
• “IusedtothinkthatI’mnotverygoodatdrumming.NowthatI’veheardmyselfplaywiththeotherbandmatesIthoughtIdidreallywell”(Youth3).
• “Idon’tfeellikeIcouldbelikeaprofessionalbassistoranything…butIcanplay it”(Youth2).
NewMusicalIdentities:Staff
• ”[Theyouth]wentupandperformedatCoffeeHouseand…Irememberthinking,thatwouldhavebeencoolifIcouldhaveperformedwithhimandbeenasupportforhim,causehewasreallyanxiousaboutit...SothenIjuststartedplayingguitar”(Teacher4).
• “Iwaslike,okay,we’vedonesomuchwiththesekids,andthey’vesharedsomuchwithme,thatIkindofwanttosharesomethingwiththem”(Teacher1).
Musicking(Small,1998)
“Ialsolovewhentheyouthandthestaffareperformingtogether.Justlikethiswholeotherwayofconnectingwithyoungpeople…verynon-hierarchical,verynon-directive…Connectingwitheachother,andwiththeaudience,and,yah,Ithinkthere’ssomethingjustinherentlynourishingaboutthatfeeling...Youcouldbereallyintellectualandstructural...butIalsothinkthere’sjustsomethingnotverytangible,andyoufeelitasanaudiencemembertoo..thiskindofenergybeingexchangedbetweenpeopleandconnectedness”(Psychologist2).
References
Aigen,K.S.(2012).CommunityMusicTherapy.InG.E.McPherson&G.F.Welch(Eds.),TheOxfordHandbookofMusicEducation (Vol.2).NewYork:OxfordUniversityPress.doi:10.1093/oxfordhb/9780199928019.013.0010
Aigen,K.S.(2014).Thestudyofmusictherapy:Currentissuesandconcepts.NewYork,NY:Routledge.
Ansdell,G.(2002).CommunityMusicTherapy&TheWindsofChange.Voices:AWorldForumforMusicTherapy,2(2),1–46.doi:http://dx.doi.org/10.15845/voices.v2i2.83
CanadianAssociationforMusicTherapists(1994).Whatismusictherapy?RetrievedOct.9,2016fromwww.musictherapy.ca.
Hadley,S.(2006).Embracingfeminism:Anoverview.InS.Hadley(Ed.)Feministperspectivesinmusictherapy(pp.1-35).Gilsum,NH:Barcelona.
Nordoff,P.&Robbins,C.(2007).Creativemusictherapy(2nd ed.).Gilsum,NH:Barcelona.
References
Pavlicevic,M.&Ansdell,G.(2004).Introduction:TheRippleEffect.InM.Pavlicevic&G.Ansdell(Eds.),Communitymusictherapy(pp.15-31).London:JessicaKingsley.
Riessman,C.K.(2008).Narrativemethodsforthehumansciences.ThousandOaks,CA:Sage.Rogers,C.R.(1951). Client-centeredtherapy:Itscurrentpractice,implications,andtheory.
Boston:HoughtonMifflinCompany.Rolvsjord,R.(2010).Resource-orientedmusictherapyinmentalhealthcare.Gilsum,NH:
Barcelona.Small,C.(1998).Musicking.Middletown,CT:WesleyanUniversityPress.Stige,B.,Ansdell,G.,Elefant,C.,&Pavlicevic,M.(2010).Wheremusichelps:Communitymusic
therapyinactionandreflection. Surrey,UK:Ashgate.Turino,T.(2008).Musicassociallife:Thepoliticsofparticipation.Chicago,IL:Universityof
ChicagoPress.