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   <front>
      <journal-meta>
         <journal-id journal-id-type="DOAJ">15041611</journal-id>
         <journal-title-group>
            <journal-title>Voices: A World Forum for Music Therapy</journal-title>
         </journal-title-group>
         <issn>1504-1611</issn>
         <publisher>
            <publisher-name>GAMUT - Grieg Academy Music Therapy Research Centre (NORCE &amp;
               University of Bergen)</publisher-name>
         </publisher>
      </journal-meta>
      <article-meta>
         <article-id pub-id-type="doi">10.15845/voices.v20i3.3179</article-id>
         <article-categories>
            <subj-group subj-group-type="heading">
               <subject>Editorial</subject>
            </subj-group>
         </article-categories>
         <title-group>
            <article-title>“Reflection and Accountability: Towards Acknowledging and Dismantling
               Oppressive Structures”</article-title>
         </title-group>
         <contrib-group>
            <contrib contrib-type="author">
               <name>
                  <surname>Ghetti</surname>
                  <given-names>Claire</given-names>
               </name>
               <role>Editor</role>
               <xref ref-type="aff" rid="C_Ghetti"/>
               <address>
                  <email>claire.ghetti@uib.no</email>
               </address>
            </contrib>
         </contrib-group>
         <aff id="C_Ghetti"><label>1</label>Grieg Academy-Dept. of Music, University of Bergen,
            Norway</aff>
         <pub-date pub-type="pub">
            <day>1</day>
            <month>11</month>
            <year>2020</year>
         </pub-date>
         <volume>20</volume>
         <issue>3</issue>
         <permissions>
            <copyright-statement>Copyright: 2020 The Author(s)</copyright-statement>
            <copyright-year>2020</copyright-year>
            <license license-type="open-access"
               xlink:href="http://creativecommons.org/licenses/by/4.0/">
               <license-p>This is an open-access article distributed under the terms of the
                     <uri>http://creativecommons.org/licenses/by/4.0/</uri>, which permits
                  unrestricted use, distribution, and reproduction in any medium, provided the
                  original work is properly cited.</license-p>
            </license>
         </permissions>
         <self-uri xlink:href="https://voices.no/index.php/voices/article/view/3179"
            >https://voices.no/index.php/voices/article/view/3179</self-uri>
      </article-meta>
   </front>
   <body>
      <p>
         <italic>As a young child, I had a recurring nightmare that always progressed in a
            relentless loop. There was a narrator, who calmly and impassively explained how one
            character fought with and destroyed a second, who then came back to life to extinguish
            the first, who in turn inexplicably revived and destroyed the second again. The cycle
            repeated in maddening meaninglessness and paradoxical simplicity. Why did they keep
            trying to destroy each other, I wondered? When would the absurd cycle end? Why did they
            never learn from their folly?</italic>
      </p>
      <p>My first fully formed memories are from my life as a very young U.S. expatriate living in
         Saudi Arabia. My family lived in a cinder block walled compound, in effect cordoning us off
         from the local Saudi communities. But within the confines of those walls existed a rich
         conflux of cultures, my friends and those of my family heralding from Lebanon, India,
         Japan, Canada, various countries in Europe, and the United States. Variations in skin
         color, body smell, vocal inflection, cuisine and customs were not unusual to me. As was the
         case for many ex-pat families at that time, my family’s interaction with local Saudis was
         limited to those who worked within the compound, and to those we met on our infrequent
         family trips to local shopping centers. On those trips I was an attentive observer. Though
         a young child, I was aware that I was a guest in this space, that my culture was not the
         indigenous culture, and that I should pay deference to the local customs. My first
         experience of culture shock<sup><xref ref-type="fn" rid="ftn1">1</xref></sup> came when I was eight and my family moved to the southern United States. I felt like
         an outsider—unfamiliar with basic norms (What is this “Pledge of Allegiance” that we have
         to recite daily? What are these references to popular culture that I do not understand?),
         and disoriented by the lack of diversity around me. I was perplexed by the static
         conceptualization of “us” and “them” that permeated the thinking of my peers, that
         influenced the way we learned about history, that set the tone for the way we were
         indoctrinated in our schooling. Those who are “us” are always right, always just, always
         justified. Those who are “them” are always wrong, always misguided, always inferior in some
         way. But as a child I reasoned—if you happened to be born over there among “them,” then you
         would experience those people as “us.” There was no fundamentally superior group of people,
         no superior race, there was only the human tendency toward othering as a means of making
         one’s own self feel safe, significant, more worthy. This I understood as a 9-year-old.</p>
      <p>And yet we see clearly throughout history that groups of people have used power and
         privilege to dominate others, colonize lands, pillage resources, enslave peoples, and
         establish oppressive systems that subjugate those who are deemed inferior due to their skin
         color, their sexual orientation, their unique abilities and cultures. The dominant “us”
         become intrenched behind their walls, aiming to distance themselves from the threatening
         and menacing “them.” Blaming the “them” for their lack of resources, and using this
         disparity as a means to justify judging them as inferior, serves to assure the “us” that
         they are most worthy, and most certainly justified.</p>
      <p>I realize that I am necessarily squarely positioned in the dominant “us.” I am white, born
         to this world with privilege, speak the dominant (and often dominating) English language,
         have the means to travel and to change my living situation. I have experienced being a
         numeric minority in terms of race in my places of work, culture (and language) in my
         current home, and gender in some of the higher echelons of academia, but I have not
         experienced being minoritized or marginalized in relation to social, educational or
         political systems. I have never lived in Brown or Black skin, have never had to explain or
         defend my sexual orientation, have never been forced into assuming a gender identity that
         is not my own.</p>
      <p>I recognize that I have unearned access to power and privileges due to my membership in
         dominant and ruling groups. Now as a co-editor of this journal, I am given a podium from
         which to be heard, presently in the form of an editorial in which I can comment on the
         valuable work of others from my advantaged position. And I do use this opportunity afforded
         to me by this position of privilege. I use it as an opportunity to introduce myself and
         some aspects of my experience, and to thank those who have come before me and those who
         make what are often unacknowledged contributions, but foremost to acknowledge that my voice
         is not the voice that needs to be heard.</p>
      <p>Using her powerful voice to shake us from our static pose of indifference, Marisol Norris
         asks us in this issue, “What in music therapy must die so that freedom may be affirmed?”
            (<xref ref-type="bibr" rid="N2020a">Norris, 2020a</xref>). Through her stoplight session
         from the 16th World Congress of Music Therapy, available in this issue as both poignant
         video and complete text, she clearly highlights how the profession of music therapy makes
         color invisible, in effect avoiding recognition of racial oppression and failing to
         recognize a complicity in the subjugation of Black and Brown communities (<xref
            ref-type="bibr" rid="N2020a">Norris, 2020a,</xref>, <xref ref-type="bibr" rid="N2020b"
            >2020b</xref>). </p>
      <p/>
      <disp-quote>
         <p>The unexamined utility of racially sanitized music therapy approaches within practice
            settings circumvents clients’ personhood and puts into practice tools of dehumanization
            that serve to superimpose devaluation and psychological assaults upon Black clients.
               (<xref ref-type="bibr" rid="N2020b">Norris, 2020b</xref>)</p>
      </disp-quote>
      <p>Marisol Norris challenges us to acknowledge that the therapeutic context is inherently
         politicized, to understand systems of oppression and of empowerment, to recognize our own
         roles in those systems, and to work actively to deconstruct oppressive structures and
         replace them with culturally sustaining ones (<xref ref-type="bibr" rid="N2020b">Norris,
            2020b</xref>). </p>
      <p>As a Woman of Color, Tanya Marie Silveira provides a reflection on her experiences of
         racialization and othering as an Australian of Indian origin. Like Marisol Norris, she
         calls for music therapists to acknowledge systemic racism, make the invisible visible and
         take a stand. Tanya points out that music therapists are generally skilled at countering
         biases directed against the profession, acknowledging the depth and complexity of the
         people with whom they work and assuring that they are seen and heard. She wonders then, why
         don’t more music therapists extend these skills to collaborating with, learning from, and
         advocating for fellow music therapists who experience adversity?</p>
      <p>Continuing the theme of music therapists taking responsibility and action, Beth Pickard,
         Grace Thompson, Maren Metell, Efrat Roginsky, and Cochavit Elefant advocate for music
         therapists to make visible and critically examine the assumptions and intentions underlying
         their practices. They point out a tendency of many music therapists to intentionally or
         unintentionally take on a normocentric position (<xref ref-type="bibr" rid="M2017">Mottron,
            2017</xref>) when working with neurodivergent people. Music therapists are challenged to
         consider how they can support strengths and celebrate diversity and identity, while also
         fighting to remove barriers to access and participation that otherwise lead to
         marginalization.</p>
      <p>Reflection and accountability characterize the other contributions to this November issue.
         Viggo Krüger, Eunice Macedo, Anna Rita Addessi, Eha Rüütel, Catherine Warner, Alexandra
         Carvalho, and Leslie Bunt provide a report on their multinational Erasmus+ project
         STALWARTS that uses engagement in the arts to promote relational health in schools. Kerry
         Byers identifies and dismantles her own assumptions and practices in light of Brian Abrams’
            (<xref ref-type="bibr" rid="A2014">2014</xref>) essay, “McMusicTherapy McMarketing:
         Reflections upon the promotion of music therapy services in an increasingly commercial
         economic climate.” Varvara Pasiali, Dean Quick, Jessica Hassall and Hailey A. Park
         carefully consider the role of music therapy for persons with eating disorders, and reflect
         upon how music therapy may contribute to formation of sense of self. Anthony Meadows and
         Lillian Eyre call for increased accountability related to the development and revision of
         the professional certifying exam used in the United States. Based on complex results from
         their survey of academic program directors, they call for better collaboration between
         those who develop the exam and academic program directors and wonder whether this exam is
         evaluating only one philosophical orientation to clinical practice. </p>
      <p>As co-editor Susan Hadley pointed out in her editorial from July 2020, our editorial team
         is experiencing a significant amount of change. I express deep gratitude to Melody
         Schwantes and Avi Gilboa who are concluding their service as copyeditor and article editor,
         respectively. And at the risk of not sufficiently making their behind-the-scenes
         contributions fully visible, I would like to acknowledge the tremendous vision and tireless
         effort of the co-editors who founded and carried <italic>Voices</italic> through to the
         rich and vital exchange it is today: Brynjulf Stige, Carolyn Kenny, Cheryl Dileo, Sue
         Hadley and Kat Skewes McFerran. The pathmaking of these exceptional people is a true gift
         to us, and I am very grateful for the chance to collaborate with Susan and the rest of the
         skilled editorial team to carry forward the mission of <italic>Voices</italic>.</p>
      <p>Marisol Norris reminds us that the counter side to access and power is death (<xref
            ref-type="bibr" rid="N2020a">2020a</xref>). People in positions of privilege and
         power must be ready to relinquish that power, to let part of their privilege die, to move
         out of the way, to accept responsibility for their part in sustaining oppressive
         structures. We return to my childhood nightmare—a relentless cycle of mutual destruction,
         and a strangely apt (for a mind that was so young) representation of the cultural,
         political, religious, and ethnic wars that exist and repeat throughout the world. I have
         typically understood this dream as representing entrenched conflicts that repeat
         incessantly due to complex histories and a lack of mutual understanding. But now I perceive
         a revisioning of this dream. It may be understood that one side, the more privileged and
         powerful one, must in effect “die” in order to create space and place for those who are
         oppressed to actualize themselves and to rise. The breaking down and the dismantling,
         extinguishing the old self and the old system, is entirely necessary, in order for those
         who have been oppressed by those very ways of being and those systems to claim their power
         and their equity, and those with unearned advantages due to group membership to take
         requisite steps to actualize their fuller humanity.</p>
      <p>
         <italic>I do not speak for the authors in this issue who proclaim their truth and call for
            accountability: they speak for themselves. But I thank each one of them</italic>.</p>
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Acknowledgements</title>
         <p>I thank Susan Hadley for comments on an earlier version of this editorial.</p>
      </sec>
      <!-- sec lvl 2 end -->
   </body>
   <back>
      <fn-group>
         <fn id="ftn1">
            <p> My home now is in Norway, where political attitudes and social welfare practices
               align more closely with my own values. I have not experienced a profound sense of
               foreignness when living in Norway, but have experienced such a feeling at times when
               I travel back to the United States.</p>
         </fn>
      </fn-group>
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</article>
