Clinical applications of feminist music therapy: An overview of the literature

Bodry, Kendra; Schwantes, Melody

doi:10.1080/08098131.2020.1753230

Cited by 7 publications

(8 citation statements)

References 41 publications

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“…Still a more recent investigation into feminist music therapy (FMT) was conducted by Bodry and Schwantes (2021). They were interested in the work of Curtis (2006) who articulated the following goals for FMT:…”

Section: Feminist Music Therapymentioning

confidence: 99%

“…); 3. to achieve optimal functioning as defined by each individual woman, rather than by the therapist or society; and 4. to initiate necessary social change (Burstow, 1992;Worell & Remer, 2003) (emphasis added;Curtis, 2006, pp. 228-229, cited in Bodry & Schwantes, 2021) Bodry and Schwantes (2021) found in their review of 11 articles that fit the criteria for inscribing FMT: "Most (nine out of 11) articles included understanding the sociopolitical aspect of the clients' experiences, including the intersection of multiple points of oppression" (Bodry & Schwantes, 2021, p. 115). They also found that most articles comported to most of Curtis's FMT goals most of the time (see Bodry's and Schwantes's Table 2, 2021, pp.…”

Section: Feminist Music Therapymentioning

confidence: 99%

“…118-120). Bodry and Schwantes (2021) in their study notably include as an FMT goal that of egalitarianism in addition to the original four Curtis goals. This is very much commensurate with the aims of postmodern music therapy here.…”

Section: Feminist Music Therapymentioning

confidence: 99%

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Postmodern Music Therapy

Gross

2023

Voices

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Postmodern music therapy is an approach to music therapy that defines itself in diametric opposition to modernist, or medical-model, music therapy. Where modernist music therapy ignores power dynamics and assumes itself to be value neutral, postmodern music therapy is concerned with power dynamics between client, therapist, and broader society. Postmodern music therapy is based on the theories of Bradley Lewis: Lewis (2006) believes that a postmodern psychiatry (or as he calls it, postpsychiatry) will be more aware of politics and social structures in general and will move toward democratization. This article proposes a postmodern music therapy in parallel to postpsychiatric ideas and ideals. Further, the article explores the intersectional nexus between postmodern music therapy and critical race, disability, queer, and feminist studies.

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Section: Feminist Music Therapymentioning

confidence: 99%

Section: Feminist Music Therapymentioning

confidence: 99%

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Postmodern Music Therapy

Gross

2023

Voices

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“…Maren Metell (2019) makes the case for the continued need to queer the discourse around music therapy and disability, to ‘counter music therapy approaches that aim at cure or normalization of difference’ (p. 2). Kendra Bodry and Melody Schwantes (2021) recently advocated that music therapists need to more deeply consider how disability studies inform their work. There seems to be momentum gathering for the potential of disability studies and critical disability studies to further inform and enrich music therapy practices.…”

Section: Disability Studies Critical Disability Studies and Music The...mentioning

confidence: 99%

Anti-oppressive pedagogy as an opportunity for consciousness raising in the music therapy profession: A critical disability studies perspective

Pickard

2022

British Journal of Music Therapy

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In pedagogic literature informed by critical disability studies, academia is widely cited as an ableist institution: the training ground for the professions of normalcy. Music therapy could readily be complicit in this normalising discourse with its potential to pathologise participants and to maintain a strict ‘normative divide’, between professionals it trains and participants who engage with its provision. Activists, advocates and disabled therapists have posed a welcome challenge to this positioning in recent publications, but the pedagogical dimensions of music therapy training in this area have received less attention. The emerging signature pedagogy of music therapy and its omissions will be considered, which may explain the need for an increased social justice focus in music therapy curricula. This article considers the potential of applying Kumashiro’s typologies of anti-oppressive education in music therapy training: problematising existing pedagogies and critically reflecting upon the potential of a social justice informed curriculum. These approaches have the potential to reframe Otherness by acknowledging expertise in lived experience. Through introducing these frameworks for socially just, anti-oppressive pedagogies, this article invites consciousness raising in music therapy pedagogy through engagement with critical disability studies theory and philosophy.

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“…We agree with Rolvsjord's (2010) emphasis on the importance of critically reflecting upon the positioning of our work and the stories we tell. In relation to our work with neurodivergent individuals, we believe further critical reflection on the what and why of music therapy is needed to move away from the perpetuation of deficit-based discourse and outdated expert models (Murphy & McFerran, 2017) and to incorporate learning from critical disability studies (Bodry & Schwantes, 2020;Pickard, in press). We acknowledge that there is much still to learn, and we look forward to further dialogue with readers and music therapy participants which may signpost us towards our next steps in this work.…”

Section: Conclusion Onclusionmentioning

confidence: 99%

“It’s Not What’s Done, But Why It’s Done”

Pickard

Thompson

Metell

et al. 2020

Voices

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This position paper offers our personal reflections as five music therapists from varying social and international contexts attempting to understand and engage with the theory, politics and implications of the Neurodiversity Movement. We begin by positioning our views on the importance of the therapist’s intentionality when working with individuals for whom this social, cultural and political movement may represent central beliefs and values. The evolution of the Neurodiversity Movement is discussed, growing from the social model of disability and Disability Rights Movements to present a challenge to the dominant, medicalised model of disability. Throughout the paper, we invite critical debate around the role, position and attitude of the music therapist when working with neurodivergent participants, taking the powerful words of Autistic author and activist, Penni Winter, as our provocation. Finally, we offer our interpretation of key concepts and dimensions of this discourse, before sharing examples of how we might apply these understandings to tangible tenets of music therapy practice in different contexts through a series of brief composite case stories. Through critical reflection and discussion, we attempt to draw together the threads of these diverse narratives to challenge a normocentric position, and conclude by posing further questions for the reader and the wider music therapy profession.

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Clinical applications of feminist music therapy: An overview of the literature

Cited by 7 publications

References 41 publications

Postmodern Music Therapy

Postmodern Music Therapy

Anti-oppressive pedagogy as an opportunity for consciousness raising in the music therapy profession: A critical disability studies perspective

“It’s Not What’s Done, But Why It’s Done”

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