The topic of this article really spoke to me as a senior in an undergraduate music therapy program. We are constantly learning about how to do music therapy, but it is impossible to know what it will really be like out there in the real world. Though we are thankfully required to get a lot of hands on experience as undergraduates, it is still interesting to learn about the specific challenges of being a new professional. Oosthuizen candidly relayed some of these challenges. She spoke about advocating for oneself in a world with many hidden agendas, having less than acceptable facilities, and constantly having to explain the value and purpose of music therapy. These are challenges that I have already experienced to some degree. Also, she is right -- it is encouraging to hear about other music therapists' successes and challenges. It makes the world of professional music therapy seem like a far more inviting place to a student. Another obstacle Oosthuizen faced was working alone without supervision and helpful suggestions. This made me realize what a great resource I have now and will have in my internship, as I am grateful to not have experienced this yet.
Oosthuizen also touched on the fact that music therapy really is a very personal profession. The relative newness of it makes many people question the effectiveness of it. She expressed her struggles with seeing the positive change in an often chaotic music therapy group, melding her own vision of music therapy with other pre-existing approaches, and being an effective music therapist in a world that often calls one to fill many other roles simultaneously. These are questions that I often have. It is difficult to not question the effectiveness of music therapy when so many others around you are questioning your choice to believe in music therapy. For me, these questions have not yet come from employers and institutions, but from parents and mentors who look a little leery when I tell them my chosen major.
My vision and approach to music therapy have not yet fully formed, but I look forward to the journey that leads me there. I also thankful for professional music therapists who are willing to share their experiences and offer that "supervision" that is not as present once we leave the classroom.
The article, Drumming in the Rain, written by Helen Oosthuizen serves as a reminder of the difficulties that we can encounter as music therapists which can, and most often do, lead to a revival of the passion music therapists possess. Currently I am a graduate student in music therapy. I also maintain a full time job in a forensic mental facility as a music therapist, balance a part time job, and participate in the occasional gig to cater to my passion of vocal performance. With the immersion of studying, practicing, work, and little time for personal musical fulfillment, I have found the frustrations and challenges in the workplace paramount. In working with an interdisciplinary treatment team with less than sufficient staffing, I am frequently completing the duties other disciplines such as social workers, psychologists, and nursing staff are often unable to complete. This has caused a sense of detachment from my job as a music therapist as these perceived "fun groups" are often not seen as the "priority" by administration. The completion of paperwork must override active treatment at times.
Throughout my undergraduate training we often had the luxury of having a co-facilitator, supervision, and the ability to observe peers throughout the music therapy process. As a working professional I have found little emphasis placed on these areas. At times this causes feelings of isolation and frustration, yet there are many rehabilitation therapists employed at the hospital. Despite all the difficulties and hurdles we, both professionally and personally, must face there is solace in knowing people are willing to share their own personal journeys such as Helen Oosthuizen. Their journeys confirm and solidify why I chose music therapy as my profession.
Throughout our undergraduate training we are given examples of what works, what does not work, and how to plan for the unexpected, yet often chaotic experiences still arise and catch us off guard. How we respond and react on our feet with quick thinking can determine if the experience can be one we have the ability to turn around, one we learn from, or one which ultimately ends in a "disaster." Though suggestions are always given, the easiest way to prepare for such situations is to immerse oneself in the work and fully take in the situation. With practice the chaos subsides and often a captivating experience develops and gives affirmation to the music therapist in what she or he embodies as a professional.
Just as Oosthuizen found the beauty of drumming in the rain, I have come to discover many of my most challenging times working in a mental facility result in personal reward for my efforts. Additionally, it can create a natural rejuvenation for the passion of music therapy I had as a beginning undergraduate student. For example, I have many patients who have been hospitalized for a number of years who are tired of participating in yet another anger management or substance abuse group. They often present classic "burn out" symptoms from the hundreds of group hours they have been mandated to experience. However, they still begrudgingly arrive for the Communication Skills Through Music Interaction group. The first few weeks of the group session were initially difficult and in my eyes were completely unsuccessful. The group often ended with half of my patients doing something other than the activity I had planned and this left me feeling as though I was a failure as a music therapist. In time they realized I was a consistent provider of a group where they were not required to talk. No one had to discuss his crime, but rather had the opportunity to express his emotions via instrumental improvisation or in our drum circle.
I have had to expand the group sessions to take place multiple times a week in order to accommodate the number of people who wish to participate and have seen dramatic changes in the attitudes of the patients on the unit. I now have patients who will ask to have time with instruments as a means of calming himself down to prevent assault or verbal altercations with peers, and have staff members who have changed perspectives on the role of music therapy in mental health services. This is not to say there are never any conflicts, struggles or chaotic moments in my practice, but I have learned to cherish those times for I know it will improve my skills, offer insight into what I can do next time, or develop into an amazing experience in the end. I know I have developed the tools to handle the situations presented in treatment settings, which was a fear prior to entering my internship. The only advice I can offer is to stand firm in representing the power of music therapy, yet have the ability to adapt to potentially chaotic experiences and know that the outcome can reawaken and restore the excitement and zeal for music therapy, regardless of the perceived chaos.
As I first read the article, "Drumming in the Rain: An Experience of the First Year of Music Therapy," by author Helen Oosthuizen, I could not help but be reminded of my own concerns on becoming a music therapist. Being a senior music therapy student I find myself relating to this author in many ways and am fast approaching my first year as a music therapist. I wonder if I will be able to handle the criticism from those who may not understand our profession and be able to explain and show how music therapy helps others. From my own experience I know things are not always good in life and undoubtedly things will go wrong in music therapy sessions. This authors experience in a music therapy session left her without a room, unable to use her chosen instrument, drumming in the rains of South Africa which many times overpowered the voices and music of the group, and dealt with a staff member questioning her and music therapy, "what’s the point?" There were a number of negative things that occurred to this music therapist but through all the bad I found myself focusing on the positive and what Oosthuizen did to overcome the adversities.
One of the first things this author dealt with was the inability to obtain a room and a lack of communication from the facility. This left the music therapist without a room and outside to face the weather. This reminds me of times I have been in clinical work and have seen how music therapy is put on a backburner to other things. This would often leave a music therapy experience without its usual room or in another position one would not like to have itself in. But the great thing about music is that it is not limited to one space or surrounding, it can be produced anywhere. While some environments are more beneficial to the client for a number of reasons, at times we must adapt. Adaptation is something so crucial in this profession because we never know what may happen. We are constantly having to think ahead of all possibilities and how to deal with any situation as best as possible. In this article the music therapist decided that despite the storm she would work outside, change instruments she had planned to use, and continue with therapy. There were many distractions that hindered the group including the rain, the stimulating outside environment, and a sense of chaos. However even in the most unpleasant of situations music was being made and goals were being accomplished. The group had progressed to where they were listening to each other despite the outside noise of traffic, thunder, and a steady pound of rain. Smiles were on the faces of the group members regardless of all of the stimuli present. They did not seem to care about the rain or unusual stares they received from those walking by, they were just focusing on the music. I think this is something we must remember especially in this first year of music therapy. Sometimes many things will go wrong and our music therapy intervention we planned may not happen the way we hoped it would. We may plan on using a keyboard and drum but when the unthinkable happens might be forced to use the guitar. As a music therapist we must accept that there will be times of unexpected occurrences that require adaptations. We must be ready for them and not let them be of a discouraging nature because clients can still have a good therapeutic experience and outcome.
Oosthuizen also dealt with something I think we all have experienced sometime in our life whether as a student or professional, people questioning our profession. This author discussed how a man who looked like an important staff member questioned her during a group session about music therapy and asked how it could help. This is a profession many people do not know of or are not aware of. They do not understand how music can be used as a therapeutic medium to promote health and change in an individual. There is always going to be somebody asking what music therapy is. Some will become enthusiastic about our practice and will be supporters while others may never fully understand and think it is just entertainment that can never be therapeutically beneficial. As a student music therapist I have already been asked some of these questions but have yet to hear any criticism although I know there will be a day I do. I think this is why we as students are so enwrapped in literature including a number of research studies. The more facts and numbers we know the more likely we may convince others that music therapy is beneficial. But most importantly we must know in ourselves that we are making a difference in others life’s through the use of music. Not everyone will understand but it is our opportunity to share with others about this profession and how even drumming in the rain can be valuable.
Through my few short years in the music therapy program I have learned that it requires a passion and love for music, people, and helping those in need. In my own clinical experience I know everything may not go perfectly and adaptations will be made. I know I will talk to people who do not know what music therapy is and may never understand what we do. Oosthuizen experienced a sense of pride and accomplishment seeing how despite the circumstance the group was able to have a sense of unity and encouraged their development. This experience has taught me that even though a storm may pass through and everything is going wrong, music can still be made, and a therapeutic process may occur.
In this article Helen Oosthuizen describes one day in her year working with a group of boys in South Africa. Some changes in the conditions of her music therapy setting greatly affect how she is able to go about leading the boys but she makes the best of her situation by keeping a positive attitude and moving on. I think that Helen touches on an important issue when she describes how well the music therapy session concluded despite her not being able to control every aspect of the session.
Even though I have not had much field experience myself, I can definitely see how working as a music therapist can become frustrating when situations get out of your control. We’re taught to make plans for successful sessions (as we still should, I’m not discounting that) but when things happen that deviate from these plans it helps to have the confidence and insight of experience. No one can predict when your instrument could suddenly malfunction, your usual therapy space is moved or if you will have outside distractions during your session but the best you can do is just prepare your mind to be flexible and work around changes to the best of your ability.
When another staff member confronts Helen during her session and asks "what’s the point?" Helen seems to have a moment where she questions her own practices; but the point of the session seems to ring clear when she looks up to see the laughing, smiling faces of the boys. In the end, Helen seems to see that sometimes when you just work with the flow of the session you can have great results that you might not have initially expected.
It is my belief that medical (including therapeutic) practices take a lot of flexibility because of how many outside forces you must work around. If you are not constantly searching for new solutions it can be easy to get stuck in a rut when things change beyond your control. This article helped me to see that you can learn from both your struggles and successes and that you must not assume that things are going badly just because they are not going as planned. Helen gives some great insight for new music therapists and I find her words to be very reassuring. I think it important to understand the struggles of your peers because you can then examine your own work under a more experienced light.
Reference
Oosthuizen, Helen (2007). Drumming in the Rain: An Experience of the First Year of Music Therapy. Voices: A World Forum for Music Therapy. Retrieved December 22, 108, from http://voices.no/?q=coloosthuizen010107
As a senior in my school’s undergraduate music therapy program, I have often wondered how the "real world" will differ from my current supervised clinical work and the secure bubble of my college campus. I feel Oosthuizen’s article addresses those concerns in a thoughtful and personal way. It strikes me as a wonderful example of the discovery of the balance between ideal situations and "chaos," as well as finding one’s personal voice.
In Oosthuizen’s story of her chaotic experience, she encounters what seems to be a string of unlucky events. Throughout our schooling, we receive warning that such situations will occur, yet we never really expect them to happen. After all, when we write up program proposals, we usually envision the best possible scenario. When things tend to deviate from the ideal situation we have created, it certainly does feel like chaos. What Oosthuizen conveys so well in this article is that if we can learn from the chaos, and share what we have learned with others, it becomes less chaotic, bringing about a balance in our lives.
Oosthuizen draws a good insight from her "chaotic" moment, saying, "Just as this group's music was stifled by rain and constant interruptions, I have often felt pressurized to quieten my own music therapy voice in order to fit with various approaches already accepted and established in institutions." I feel many music therapists, whether new or veterans, face this problem. I certainly have struggled with it over the past few years. Throughout our schooling, we receive facts, definitions, and advice on what works and what has not worked so well, which we appreciate. However, we seldom take the time to discover the more personal aspect of music therapy. It is troubling how easily one can change from excited and eager to try new ideas, to allowing outside factors to drown out their voice. Music therapy is a new and exciting field, and allows room for many views and ideas. As I draw nearer to the completion of my undergraduate career and the beginning of my professional life, I eagerly anticipate the learning process that will determine what new song my personal "voice" will sing out and share with others.
I find encouragement in Oosthuizen’s article, as well as in hearing from my school friends already out in the professional world. Another message I can take away from this article is that encouragement is not a one-way street. It works both ways, in music therapy and in life in general. Accomplishments and challenges are to be learned from, and those insights to be shared with others. Through this, we can help each other find passion in life and music, find balance in chaos, and to reach our fullest potential.
References
Oosthuizen, Helen (2007). Drumming in the Rain: An Experience of the First Year of Music Therapy. Voices: A World Forum for Music Therapy. Retrieved November 28, 2008, from http://voices.no/?q=coloosthuizen010107