Mit und inmitten von Chaos arbeiten
Die Entwicklung eines Musiktherapieprogramms für junge Sexualstraftäter in Südafrika
DOI:
https://doi.org/10.15845/voices.v18i4.2588Schlagworte:
minderjährige Sexualstraftäter, Gruppenmusiktherapie, Diversion, Musiktherapie in Südafrika, ganzheitliche RehabilitationAbstract
Das Support Programme for Abuse Reactive Children wurde von der Teddy Bear Clinic (einer Non-Profit-Organisation, die zum Schutz missbrauchter Kinder gegründet wurde) in Südafrika als Reaktion auf die Zunahme von minderjährigen Straftätern, deren Opfer ebenfalls minderjährig sind, initiiert. Dieses Kurzzeitprogramm zielt darauf ab, jungen Ersttätern eine ganzheitliche Rehabilitation anzubieten, welche konventionelle Diversionsansätze mit kreativen Programmen, einschließlich Gruppenmusiktherapie kombiniert. Basierend auf der Durchsicht meiner Therapieprotokolle befasst sich dieser Artikel mit Herausforderungen und positiven Entwicklungen, die ich im Laufe der Zeit als Musiktherapeutin des Programms von 2006 bis 2016 erlebt habe. Obwohl ich diese Arbeit oft als chaotisch empfand, legen die Ergebnisse nahe, dass durch die gemeinsame Entwicklung mit Teilnehmern der Gruppenmusiktherapie, Klinikmitarbeitern und der breiten Öffentlichkeit eines kontextspezifischen Musiktherapieprogramms, die Musiktherapie eine zunehmend relevante und wertvolle Ergänzung des Diversionsprogramms ist. Fortwährende Herausforderungen dieser Arbeit werden ebenfalls hervorgehoben.
Literaturhinweise
Ansdell, G. (2004). Rethinking music and community: Theoretical perspectives in support of community music therapy. In M. Pavlicevic & G. Ansdell (Eds.), Community music therapy (pp. 65-90). London, England: Jessica Kingsley.
Arndt, N., & Naudé, L. (2016). Contrast and contradiction: Being a black adolescent in contemporary South Africa. Journal of Psychology in Africa, 26(3), 267-275, https://dx.doi.org/10.1080/14330237.2016.1185913.
Baker, S., & Homan, S. (2007). Rap, recidivism and the creative self: A popular music programme for young offenders in detention. Journal of Youth Studies, 10, 459-476.
Chaos. (2017). https://en.oxforddictionaries.com/.
De Carlo, A., & Hockman, E. (2004). RAP Therapy: A group work intervention method for urban adolescents. Social Work with Groups, 26(3), 45-59, https://dx.doi.org/10.1300/J009v26n03_06.
Eagle, S. (2016). Cutting Corners. South Africa: Eagle Entertainment.
Findley, L., & Ogbu, L. (2011). South Africa: From township to town. Places Journal, https://doi.org/10.22269/111117.
Forbes, K., Fonseca, J., Addo, M., AKA, S., Master A. Flat, T., Shabangu, M., & Ntshakaza, Y. (2014). All eyes on me. (AKA, featuring Burna Boy, Da L.E.S. & JR). In Levels (Explicit)[MP3]. South Africa: Vth Season, Sony Music Entertainment Africa.
Guerrero, N., Marcus, D., & Turry, A. (2015). Nordoff-Robbins music therapy. In B. Wheeler (Ed.), Music therapy handbook (pp. 183-195). London, England: Guilford.
Hara, A. (2012). RAP (requisite, ally, protector) and the desperate contemporary adolescent. In S. Hadley & G. Yancy (Eds.), Therapeutic uses of rap and hip-hop (pp. 3-26). New York, NY: Routledge.
Hirschowitz, R., Worku, S., & Orkin, M. (2000). Quantitative research findings on rape in South Africa. Retrieved from http://www.statssa.gov.za/publications/rape/rape.pdf
Ierardi, F., & Jenkins, N. (2012). Rap composition and improvisation in a short-term juvenile detention facility. In S. Hadley & G. Yancy (Eds.), Therapeutic uses of rap and hip-hop (pp. 253-274). New York: Routledge.
Jaffé, P. (2010). Child and adolescent sexual abusers – For a rehabilitative approach driven by scientific evidence. In Europe for and with Children Programme (Ed.), Protecting children from sexual violence: A comprehensive approach (pp. 225-245). Strasbourg, Austria: Council of Europe.
Lotter, C. (2011). Music therapy with high-risk youth: An international perspective. In C. L. Norton (Ed.), Innovative interventions in child and adolescent mental health (pp. 75-95). New York, NY: Routledge.
Malekoff, A. (2014). Group work with adolescents (3rd ed.). New York, NY: Guildford.
Mathews, S., & Gould, C. (2017). Preventing violence: From evidence to implementation. In L. Jamieson, L. Berry, & L. Lake (Eds.), South African Child Gauge 2017 (pp. 61-67). Cape Town: University of Cape Town.
McFerran, K., & Saarikallio, S. (2014). Depending on music to feel better: Being conscious of responsibility when appropriating the power of music. The Arts in Psychotherapy, 41(1), 89-97, https://dx.doi.org/10.1016/j.aip.2013.11.007.
Miranda, D. (2013). The role of music in adolescent development: Much more than the same old song. International Journal of Adolescence and Youth, 18(1), 5-22, https://dx.doi.org/10.1080/02673843.2011.650182.
Moloi, R. (2016). Come to my kasi (Recorded by Priddy Ugly, featuring Refi Sings). In You Don't Know Me Yet [MP3]. South Africa: Wichi1080.
Ngcobo, N. (2016). Hell Naw (Recorded by Nasty-C). In Bad Hair [MP3]. South Africa: Mabala Noise Entertainment.
Oosthuizen, H. (2006). Diversity and community: Finding and forming a South African music Therapy. Voices: A World Forum for Music Therapy, 6(3), https://dx.doi.org/10.15845/voices.v6i3.277.
Oosthuizen, H., & Hadley, S. (2013). Narrative three: This skin I am in. In S. Hadley (Ed.), Experiencing Race as a Music Therapist: Personal narratives (pp. 43-56). Gilsum, NH: Barcelona.
Pavlicevic, M. (2002). Groups in music: Strategies from music therapy. London, England: Jessica Kingsley.
Prentky, R., Pimental, A., Cavanaugh, D., & Righthand, S. (2009). Understanding the treatment needs of adolescents. In A. R. Beech, L. A. Craig, & D. Kevin (Eds.), Assessment and treatment of sex offenders: A handbook (pp. 430-450). Oxford, UK: Wiley-Blackwell.
Rio, R., & Tenney, K. (2002). Music therapy for juvenile offenders in residential treatment. Music Therapy Perspectives, 20, 89-97, https://dx.doi.org/10.1093/mtp/20.2.89.
Rolvsjord, R. (2006). Therapy as empowerment: Clinical and political Implications of empowerment philosophy in mental health practices of music therapy. Voices: A World Forum for Music Therapy, 6(3), https://dx.doi.org/10.15845/voices.v6i3.283.
Rothman, D. (2016). Early detection and intervention for adolescents at risk for engaging in abusive sexual behaviour: A case for prevention. In R. Laws & W. O’Donohue (Eds.), Treatment of sex offenders: Strengths and weaknesses in assessment and intervention (pp. 191-222). New York, NY: Springer.
Sithole, B., & Stockenstroom, S. (2014). Kasi rap wrapped in kwaito. Sunday World, Retrieved from http://www.sundayworld.co.za/lifestyle/2014/07/28/kasi-rap-wrapped-in-kwaito.
Skaggs, R. (1997). Music-centred creative arts in a sex offender treatment programme for male juveniles. Music Therapy Perspectives, 15, 73-78, https://dx.doi.org/10.1093/mtp/15.2.73.
Smeijsters, H., Kil, J., Kurstjens, H., Welton, J., & Willemars, G. (2011). Arts therapies for young offenders in secure care – A practice-based research. The Arts in Psychotherapy, 38, 41-51, https://dx.doi.org/10.1016/j.aip.2010.10.005.
Stige, B. (2002). Culture-centred music therapy. Gilsum, NH: Barcelona.
Teddy Bear Clinic (2014). Home. Accessed 8 May, 2015, Retrieved from http://ttbc.org.za
Watson, D. (2002). Drumming and improvisation with adult male sexual offenders. Music Therapy Perspectives, 20, 105-111, https://dx.doi.org/10.1093/mtp/20.2.105.
WHO. (2012). Understanding and addressing violence against women: Sexual violence WHO Department of Reproductive Health. Retrieved from http://www.who.int/reproductivehealth/publications/violence/en/index.html
Woodward, S. C., Sloth-Nielsen, J., & Mathiti, V. (2007). South Africa, the arts, and youth in conflict with the law. International Journal of Community Music, 1(1), 69-88, https://dx.doi.org/10.1386/ijcm.1.1.69_0.
Wyatt, J. (2002). From the field: Clinical resources for music therapy with juvenile offenders. Music Therapy Perspectives, 20, 80-88, https://dx.doi.org/10.1093/mtp/20.2.80.
Yancy, G., & Hadley, S. (2012). Introduction: Give ‘em just one mic: The therapeutic agency of rap and hip-hop. In S. Hadley & G. Yancy (Eds.), Therapeutic uses of rap and hip-hop. New York, NY: Routledge.
Downloads
Veröffentlicht
Zitationsvorschlag
Ausgabe
Rubrik
Lizenz
Copyright (c) 2018 Helen Brenda Oosthuizen
Dieses Werk steht unter der Lizenz Creative Commons Namensnennung 4.0 International.
Articles published prior to 2019 are subject to the following license, see: https://voices.no/index.php/voices/copyright
