Finding Power and Privilege as a Violinist and Music Therapist

By Naoko Matsumura McKee

Abstract

Power and privilege often addressed in social work literature is taught as a part of social work training in Canada. Critical self-reflection, a tool that examines one’s thoughts, feelings, and behaviors, and one’s understanding of how these are shaped by personal history, social location, attitudes and values related to diversity and difference, is used to reveal one’s own power and privilege (Mandell, 2007). Not all practices in the field of social work can be directly applied to music therapy practice. However, realizing one’s power and privilege through critical self-reflection as introduced in social work may be useful for music therapists. This paper applies theoretical and conceptual ideas of power and privilege in music therapy practice through the author’s personal critical self-reflection.

Keywords: power and privilege, critical self-reflection, collaborating.

Introduction

The concept of power and privilege was first introduced to me during my final year of Masters in Music Therapy at Wilfrid Laurier University through a social work course called “Use of Self.” I initially dismissed the idea as irrelevant, due to the differences in client groups and mediums with which social workers and music therapists work. However, as I began to identify both social work and music therapy as "helping professions," I realized the potential relevance of this social work concept. As my interest in this topic increased, a realization struck me: I was in the minority of the class both as a music therapy student and as an Asian. I perceived the social work students’ with power and myself as oppressed. I felt that they were the experts with more knowledge and opinions that mattered. On the contrary, I was afraid of saying something irrelevant, feared mockery, and considered myself inferior. As a result, my ability to speak in class was minimized. I felt powerless. Following that experience, I understood that others had power: the ability to act or control. Being powerless in class reminded me of other similar episodes in my life, from childhood to my present life as a violinist and music therapist. I re-experienced the anger that accompanied those experiences. However, as I came out of the anger I began to find the times when I was and am in power. Through the course of this paper I aim to reveal some of my own power and privilege, how it affected my music therapy practice through critical self-reflection, and how it can change music therapy practice.

Literature Review

Power is the ability to act or control, a complex social construction which produces what is "normal" (Webb, 2000). The normal refers to the cultural majority, where the possession of privilege is unacknowledged, denied and protected (McIntosh, 2003). Traditionally, dialogues on this invisible privilege are targeted on "white males", who in North America are typically placed at the top of the social hierarchy with advantage (McIntosh, 2003). However, there is now a realization that these privileges are not limited to white males, but to those who identify with the dominant culture of the society (Mandell, 2007). Subsequently, people can be in power in one social context, but not in another (Vodde, 2000). Therefore, if “every relationship is a relationship of power,” power and privilege in music therapy exists and must be discussed (Moffat & Miehls, 1999, p. 69).

Unfortunately, literature on the power and privilege of music therapists is limited. Many articles mention the "power of music" and the "privilege of being able to play music," yet do not discuss the power of the music therapist. There is valuable literature reminding music therapists to work in a culturally "sensitive" manner (Estrella, 2001; Ruud, 1998). However, I would like to argue that sensitive practice is a creation by the dominant culture, and it does not necessarily imply one’s acknowledgement of power and privilege. Carolyn Kenny addresses the difficulty of surrendering privilege and encourages others to have a respectful discourse about the topic, but does not discuss it extensively herself (2001). As seen through the gaps in these sources, the power and privilege of music therapists seems to be an unspoken topic.

In contrast, "empowering the client" is an important topic, since the populations that music therapists work with are, most commonly, in the vulnerable sector (Daveson, 2001; Rolvsjord, 2004). From early in their training, music therapists are encouraged to give clients choices in instruments and in interventions (Bruscia, 1987; Gardstrom, 2007). Research also indicates that music listening has empowering effects on both clients and music therapists (Arnason, 2003; Batt-Rawden, DeNora & Ruud, 2005). If music is the primary vehicle of communication and expression in music therapy, it is undeniable that music created in the session holds the key to therapy (Aigen, 2005; Lee, 2003). Although some elements of music therapy can be empowering by nature, music therapy is not always empowering (Rolvsjord, 2004). Similarly even if the music therapist plays a supportive role in the therapeutic process, the power of a music therapist cannot be dismissed.

Power and Privilege as a Violinist

The violin, delicate and small as it is, holds too much of the history of man, his creative gifts, his craftsmanship, his emotion and thought, to be encompassed by any one writer. A performer brings the violin to life and makes it sing…. (Menuhin, 1976, p. 1).

The violin is a powerful instrument. It can be aesthetically beautiful both in appearance and in tone. I began playing the piano at age four and the violin at age seven. I was fortunate enough to receive private piano and violin lessons, until I graduated from my undergraduate studies. From grade seven to twelve I attended an international school where I joined the performance orchestra, at times performing in overseas festivals. Some of my classmates owned $100,000 violins, as an investment towards becoming professional soloists. I did not own an expensive violin, I was never the concert-master, and I rarely played solos. I felt inadequate on the violin, because no matter how much I practiced I was not as good as the others. I tried to follow how the better violinists played, and hid my sound underneath their sound. If there was a dispute on how it should be played, I simply obeyed, because my opinion would make no difference. I was under the power of "better" and "richer" violinists even in this socio-economically privileged environment. To this day, though I acknowledge my privilege in playing the violin, I do not feel privileged in comparison to others. Even when I receive praise from others, I have difficulty accepting it, because I know that they have heard better players. In the hierarchy of violinists, I consider myself in the lower half.

Now, however, my place in power has shifted. For a music therapist, I am rather good at playing the violin. My audiences appreciate my level of playing, and even if I make mistakes they are forgiving. Also many have never heard a violin played live or seen one up close. It is my privilege to bring my beautiful orchestral instrument into each session. When I first realized my privilege, I started to think that perhaps I do not need to prepare as much for a music therapy session compared to a violin performance. Deep down inside, I asked questions such as, will my clients know or care if I practiced? And then I convinced myself not to bother, because they will be happy with whatever I played. I had positioned myself at the top of the hierarchy and misused the power. Yet, I came up with reasons why I am not in power in the first place, because music is neutral and I am not a good violinist anyway. I have ignored what lies beneath the music: me.

Denial of my power and privileges led me to look down on my clients, treating them less then the "normal" audience in a performance context. Although, I did not disrespect the people during music therapy sessions, ignoring the power I possessed affected how I prepared for my sessions as a violinist. It also led to illogical reasoning, conveniently lining up excuses to support my ideal self as a music therapist, violinist and as a person. I like having power, because it makes me feel comfortable and important, but when I do not acknowledge it, it appears to alter my attitude in the way I practice.

Power and Privilege as a Music Therapist

I play the violin, piano, guitar, and I sing: I am expected to have the knowledge and skills to use these instruments therapeutically. The clients often perceive me in an expert role, even though I do not consider myself an expert at times. It is true that I have knowledge and skills in using music in and as therapy; however, clients know their own music more then I do. Despite my stance, I have had some clients hesitate to play instruments or sing by saying "I don’t know how" or "I’m not good enough." Rather than perceiving this as resistance, I realize that this may be an indication of the power that I possess and display. Even with my considerate manner in approaching clients, perhaps my invisible privilege as a music therapist is affecting the therapeutic relationship. Is it possible that the people I work with think that I am better than them, and that they fear doing something wrong, just like how I felt in other situations in my life? What gives me power in music therapy?

As I reflect, my dismissal of my possession of musical mastery has been a part of what has led to my denial of power and privilege. The pursuit of musical mastery is my musical journey. As a violin and piano student, teachers instructed me in the "right" way to play. Similarly, in my music therapy training I was encouraged to master clinical improvisation techniques (Austin, 2008; Gardstrom, 2007; Robbins & Robbins, 1998; Wigram, 2004). I desperately want to reach musical mastery, yet no matter how much I practice there is always more to attain. I can truthfully claim my lack of musical mastery. However, having some musical mastery allows me to direct the session when needed and consequently gives me power.

Neither music, nor musical interactions are free of power or from providing experiences of subordination and domination (Rolvsjord, 2004). However, keeping that in mind, perhaps it is possible to mitigate or share power, when musical mastery is surrendered for the sake of co-creating. Aigen describes, "surrender is essential to the most powerful moments of musicing... .that surrendering and letting go are powerful means to human artistic achievement" (2005, p. 87). Powerful moments of musicing are beautiful because the client and therapist are of equal importance in the relationship; they are collaborating. However, when I desire musical mastery, surrendering it is difficult. Not only that, do I trust my clients enough to share control over the session with them?

When I improvise with a client, I am constantly thinking how I can meet the person through the music. Should I match, contrast, play something new, repeat etc? There are numerous options as to the notes, timbres, and forms that I could play in response. I met clients in the music before, but at times it was very frail that I feared if I changed the music, I would lose the moment of musical meeting. After I lost the musical connection with my client, I often attempted to recreate the moment by using the same musical phrase. Sometimes I was successful, sometimes not. This illustrates my attempts to dominate and fabricate further experiences of musical meeting. Here I used my musical expertise to control the situation mostly for my own benefit, instead of setting up an environment for the client to express. It appears that I could not trust the client enough to know that musical meeting can happen in many different ways.

How then will this realization and examination of my power and privilege effect how I practice as a music therapist? For example, how I create aims will be different. Instead of creating an unshared hidden agenda apart from the client, I will collaborate in the aim making process, and make aims clear to the client through verbal or musical interventions. Perhaps this can begin through re-writing the aims from non-musical aims to musical aims or vice versa with the client. Maybe aims can be communicated through clear gestures, musical interactions, lyrics etc.

This has changed my clinical practice. Now, I try to collaborate with the client by explaining what we are about to do or by discussing aims and thoughts. In one case, my client and I mutually agreed that song-writing may be what the client would enjoy, as well as a way to express feelings and creativity. She decided to write the song for her loved one. However, once the song was competed she did not want to sing the song. She felt that her voice quality was poor, especially compared to mine. In reality, I am not the greatest singer; however, in this situation, she perceived me as the superior singer. I had the power and privilege in this situation. Realizing the power, I told her that I too did not perceive myself as a good singer, and even if she thinks her voice sounds bad, her voice would probably be more meaningful to her loved ones. She was surprised. I suggested practicing singing techniques to open up our voices. As we practiced, I gradually phased out my voice, so that her voice would be more and more prominent. In this process, I pointed out how she improved through the practices, thus reaffirming the voice that she had. We recorded the song, listened back, and practiced many times, until she felt satisfied with the quality of her voice within the time frame we were given. Then she performed the song in front of her loved ones. After the performance and listening to the compact disc she recorded she said, "I poured and expressed everything I had in my song. It was not as bad as I thought. Actually it’s quite good."

The client was the one who achieved the aims, and as a therapist I did have a significant role in the therapeutic process. I had the power to steer the therapy in one direction or another. If I did not realize my power, perhaps I would have agreed to sing the song instead of her or I may have convinced her to be satisfied with the early recordings. Through collaborating with the client and being aware of my influence in the therapy, and by focusing on the client’s strength, I consequently empowered the client, and enabled her to re-access the resource that she possessed within.

As a music therapist, I want to see clients feel empowered and enabled. However, if I do not see my own power and privilege, I may be unknowingly recreating the social hierarchy of power and privilege again, despite my intent to empower and enable the client. If we compare each person’s technical skills, one will always be more accomplished than the other. No human is the same; hence we will never be completely equal. But, our attitudes of how we approach the client, music, and ourselves can change. We all have a part of us that we prefer not to know, because admitting our power and privileges makes us uncomfortable.

Discussion

One can be in power in one context and not in another. It was rather easy for me to find the times when I was not in power. Knowing what it is like to not be in power, allowed me to seek the times when I was in power. When I realized that I had power, my preference was to deny its existence and the impact it had on my clinical work. As a music therapist, I do have expert knowledge on how to use music in and as therapy. Hence, I have a choice in how I use this power and privilege in a session. I can choose to think that I am the "norm" and make clinical judgments based on my norm or I can try to understand myself more and become aware of the influences that I bring to the therapy. Similarly, I can choose to have an underlining psychoanalytic assumption of the “patient’s sickness which the expert therapist cures” (Payne, 1997, p. 93) or I can chose to collaborate with the client (Rolvsjord, 2004). Being aware of my power and privilege, allows me to check my motivations and influences behind how I conduct myself in sessions.

Finding one’s power and privilege is not a simple task, because it does not manifest itself easily. Nevertheless, examining one’s privileges and challenging the invisible power is important (Vodde, 2000). This often leads to de-centering oneself from the privilege; however, it must be remembered, in reality we are never completely removed from the privilege. In one social context, being an Asian female working in a relatively new field of music therapy places me with less privilege. Yet, in another context, my level of education, musical skills and socio-economic status gives me power. My success in a foreign country also shows my skills and power to adapt and live within the dominant culture. Some may argue that one’s personal life is irrelevant to the music therapy practice and that it should be separated. On the other hand, are we truly capable of separating parts of our lives to the point that they do not influence each other? Dismissing power and privilege is easy, but unless it is revealed and dealt with constantly we are turning a blind eye.

I believe that realization of power and privilege comes from reflexive work. Lafrenière addresses the importance of the therapist’s reflexivity and states, "it is an important element of best practice for those of us who choose to be of service to others—even if, at times, it is uncomfortable" (Mandell, 2007, p. 157). Reflexive journal writing is a method of reflexive work as it facilitates self-reflection, thinking, and analysis (Barry & O’Callaghan, 2008). Depending on the individual the medium used for reflexive work can be speech, poetry, dance, art, or music instead of journaling. However, one must remember to analyze one’s work through reexamination of the process in order for reflexive practice to fulfill the aim.

Identifying countertransference remains part of reflexive work. Countertransference includes intrasubjective and intersubjective perspectives: issues of the music therapist and issues manifested through the work (Scheiby, 2005). I believe identifying one’s "unconscious feelings" of countertransference is also the beginning of identifying power and privilege in practice.

As a part of reflexive work, music therapists need to understand one’s musical and non-musical personal experiences, even if they may not seem directly influential to practice at first glance. Some questions to ask are:

• What is my personal history, social location, attitudes and values related to diversity and difference?
• In what areas do I have power and privilege, and in what areas do I not?
• What is my musical background, attitude and experience, and what are my memories?
• In what areas of my musical life do I have power and privilege, and which areas do I not?
• How do these influence my work or the way that I think?

Answers to these questions may change over time. This is why reflexive work is a process. Increased self-awareness to power and privilege will make us more resourceful and insightful, allowing ourselves to be authentically present with the people whom we work.

Realization of one’s power and privilege through critical self-reflection may change one’s approach to music therapy practice. As seen through my own process, ignorance to the possession of power and privilege can potentially become a risk and a problem in practice. As humans, we cannot abandon our personal history, social location, attitudes and values related to diversity and difference, because they are all part of who we are. However, when we become self-aware of the power and privilege that we possess as musicians, music therapists, and as a people, it will change our clinical work. I hope that this will not be the end of my journey, and I certainly hope that there will be more discourse on power and privilege in music therapy.

Acknowledgements

I would like to acknowledge Dr. Deena Mandell, Dr. Colin Lee, and Dr. Heidi Ahonen for providing guidance and support for this publication.

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