Sunday, January 24, 2016

It's January, and that means it Social Media Advocacy Month

As you've probably surmised, from the festive badge and such, it's that time of the year again where we music therapists use the power of social media to advance the cause of music therapy in our respective states. 

The good news: it seems to be working! 

As the lovely Kat Fulton of Music Therapy Ed points out, we've been recognized in major publications (online and off), and we've even been named Persons of the Week for gosh sakes! Amazingly, nowadays we can even see characters who are music therapists in books, on television series and in movies

As a person who's been at this a while (ahem!), it's refreshing to meet people, tell them I'm a music therapist and have them respond with "Cool!" rather than "you're a what?" 

Dena Register (see below for her 2016 article) sees our advocacy styles as falling into three different categories. She identifies us as Connectors, Reflectors and Directors (I mean, don't we all really want to direct?). This is certainly true, and many of us do have these characteristics. But I want to propose another feature music therapists of the world possess, which is that of being Innovators

We've only just celebrated our 65th anniversary as an official profession. In that time, we have grown in remarkable ways. We've become an actual profession, complete with professional competencies, standards of practice, a code of ethics, board certification, journals, along with new and innovative research methods that use the arts as their basis!

We are curious, we're determined, and we work hard to find news ways to grow and extend what we already know as a field. When we're faced with our clients day after day, we are truly with them. We take our failures, and we try again, learning from our mistakes as we boldly explore new ideas and approaches. 

Yes. We are Innovators. And because of that, there is a profession called 'music therapy.' 


And I will now step off of my soapbox and invite you to read Dena's perspective on the matter: 

Social Media Advocacy Month 2016
Dena Register, PhD, MT-BC
Certification Board for Music Therapists
Regulatory Affairs Advisor

Each New Year brings the opportunity to reflect on all that we have accomplished and to determine what is needed in the coming year to move forward. As the Regulatory Affairs (CBMT) and Government Relations (AMTA) teams reflect on the first 10 years of the State Recognition Operational Plan, we are grateful for the number of individuals that have actively engaged in the advocacy process. We have had the incredible fortune to watch groups of diverse individuals pull together, capitalize on their strengths, and create access to services for clients and families that benefit greatly from music therapy.

One of the observations we reflect on regularly is what makes an advocacy team successful. The teams that stand out are those that have 3 different kinds of participants: Connectors, Reflectors and Directors. While this is certainly not an exhaustive list, this seems to be a “triple threat” of action-oriented personalities that are able to work in tandem and move a group forward.

Building Bridges 
“Connectors” are people who are gifted at building bridges by bringing others together and recognizing complimentary skill sets in those that they know.  Connectors enjoy creating opportunities for people from diverse background and experiences to meet and interact. The role of the Connector in advocacy is to maximize the human resources available to them and to increase the network for their cause by helping interested parties get to know one another and discuss common interests. It is often the Connectors who are able to establish relationships with legislators or other decision makers that develops them into incredible advocates.

Holding Up the Mirror 
“Reflectors” are gifted at taking in information, experiences, and perceptions and—as the name implies—reflecting back the most salient points to those around them. Reflectors often have a knack for diffusing situations by indicating an understanding and empathy for someone else’s position. Reflectors also make great advocates because of their fierce loyalty to their cause. Their ability to see issues from multiple perspectives and then to communicate that to multiple audiences brings all sides of an issue to the foreground for discussion. Reflectors unite various individuals and guide the group to a vision that recognizes the complexity of all issues.

Consulting the Compass
“Directors” are the ones who are able to see the big picture of possibilities that exist beyond the current situation. They are able to assimilate the work of the “Reflectors” and the “Connectors” and navigate a course of next steps based on that information. Directors also gather additional relevant information as they move forward and constantly attend to what course corrections are necessary to get to their end goal. Those who are most successful in this role demonstrate flexibility in their thinking and actions, which allows them to accommodate to various situations that are presented and that often change without prior notice. Directors take a broad view of an issue, projecting out beyond it’s current status or challenge and using an ideal vision or end goal to guide the day-to-day steps necessary to get there.

So how about you? Are you a Connector, Reflector, or Director? Or maybe there is another description you would use? We would like to hear from you about other characteristics or personalities that you find “key” in advocacy.

Tuesday, November 24, 2015

How to be together

We sat together yesterday, our group of seven, on a Monday afternoon. And the curtains in the room were open to the afternoon sun, closed as the sun blinded us, and then open again to watch the beautiful dark frames of leafless trees against the pink and yellow and blue sky as the sun began to set. And, with the early evening news as a background, we noticed, for ourselves and with each other, our music was made of...

...sound and silence,
terror and safety,
change and consistency,
feeling frozen and being in motion,
comfort and discomfort,
certainty and uncertainty,
sleeping and awake,
light and dark,
presence and absence,
judgment and acceptance,
loud and quiet,
intensity and gentleness,
curiosity and detachment,
containment and freedom...

And then, this morning, I read and listened to this gorgeous conversation between Krista Tippett and Ann Hamilton. When Krista asked her what questions we should be asking, without hesitation, Ann responded:
" to be together. I mean, isn’t that — that seems like the biggest question. How to be together." (Ann Hamilton
Yes! And yes again!

There are so many who believe music therapy sessions with people who don't use speech as their first language are about "playing for your clients." In fact, it is about

 and wondering 

"...when you’re making something, you don’t know what it is for a really long time. So, you have to kind of cultivate the space around you, where you can trust the thing that you can’t name. And if you feel a little bit insecure, or somebody questions you, or you need to know what it is, then what happens is you give that thing that you’re trying to listen to away. And so, how do you kind of cultivate a space that allows you to dwell in that not knowing, really? That is actually really smart, and can become really articulate? But, you know, like the thread has to come out, and it comes out at its own pace." (Ann Hamilton)

Wednesday, February 11, 2015

Why it was hard for me to participate in this year's social media advocacy month

One of the things that doesn't get talked about enough when you're on your way to becoming a music therapist is how deflating it can be to have to define, to defend, to prove your work almost every single day for the rest of your music therapy life.

I need to admit to you (because I think it's important to say it out loud, because I truly believe that looking at the challenges means finding a way to get through them or at least come to terms with them): I am weary - bone weary - of advocating for music therapy right now. Will I still do it? Yes, probably I will. Do I still believe in what I do? Absolutely! Do I think I make a difference in my clients' lives? God, I hope so! I know they make a difference in mine. Am I still learning about music therapy? Always. 

But am I sick to death of explaining and re-explaining, and re-re-explaining what I do to people who already "know" what I do? Who incessantly belittle and demean my work (and, by extension, my clients' efforts)? Who still, after 27 years of this, see me as "the entertainment," treating me like a radio that nobody's really listening to anyway? Damn skippy! 

Today's comment: "No offense or anything, Roia, but I think having gross motor and music out at the pool is more beneficial for the guys than just listening to music with you..." (hmm, now how could that possibly be offensive to me?). This came from a co-worker who arrives in the middle of our Community Music Group, starts yelling out names (with a quick "oh, sorry, Roia"), bustling people into coats, and taking out the majority of the group to go to another activity. Nice.

I've had bosses who've said (and I'm quoting here), "Roia, I honestly don't see how what you do is any different from someone putting a CD in a CD player," interrupting my invitation to come and observe a session with "I'm afraid we're just going to have to agree to disagree, because we have different views on this." I guess getting that Master's degree was an insane waste of time, money, and effort. Oh, and probably the twenty years of paying for clinical supervision (and a whole lot of other trainings outside of music therapy), learning everything I could about disabilities and psychotherapy and figuring out ways to make sense of all of this so I can offer my clients a form of music therapy that hardly anybody else really does...that was probably a bit of overkill.

It's hard when many of your professional colleagues think that all you're doing is "playing nice music for people." It's hard to listen to support staff tell you they don't like the music you're playing and that you're not doing music therapy "right."

The bottom line here is this: if you're going to be a music therapist (and I really want you to be), it's important to love what you do and believe in what you're providing to your clients with every fiber in your body. It's important to make music, to get clinical supervision, to get your own therapy, to have an amazing support system of people who love, respect and believe in you and in the work that you do. Because you will run into these people. And you're good and likely to feel squashed sometimes.

Being a music therapist is hard work, especially when you're trying to find a way to musically sit with people who are struggling, whose lives aren't going the way they wish they would, who are in pain, who are frightened, who throw instruments at you, who scratch your face, who are disorganized, who feel powerless, who are grieving, who are dying....All of this is hard to do. But we do it, because we know - deep in our souls we know - that the experience of being together in music means something, the musical and human relationships we painstakingly develop with people who've had chronic trauma, who've been discriminated against in every way imaginable (and in many ways we don't even have a clue about) means something.

So what the heck am I saying anyway? I guess what I'm trying to say is I've advocated until I'm blue in the face. Oh, I'll advocate when someone really cares to listen. Until then, I'm keeping my focus on helping the people whose understanding of music therapy is most important to me, and that's my clients.