Mentoring Apprentice Music Therapists for Peace and Social Justice Through Community Music Therapy: an Arts-Based Study
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MENTORING APPRENTICE MUSIC THERAPISTS FOR PEACE AND SOCIAL JUSTICE THROUGH COMMUNITY MUSIC THERAPY: AN ARTS-BASED STUDY GUYLAINE VAILLANCOURT A DISSERTATION Submitted to the Ph.D. in Leadership & Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May, 2009 This is to certify that the dissertation entitled: MENTORING APPRENTICE MUSIC THERAPISTS FOR PEACE AND SOCIAL JUSTICE THROUGH COMMUNITY MUSIC THERAPY: AN ARTS-BASED STUDY prepared by Guylaine Vaillancourt is approved in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Leadership & Change. Approved by: __________________________________________________________________ Dissertation Committee Chair: date Carolyn Kenny, Ph.D. __________________________________________________________________ Committee Member: date Elizabeth Holloway, Ph. D. __________________________________________________________________ Committee Member: date Barbara Wheeler, Ph. D. __________________________________________________________________ External Reader: date Kenneth Aigen, D.A. Copyright 2009 Guylaine Vaillancourt All rights reserved In memory of Josée Préfontaine, a music therapy pioneer. Acknowledgements My very first thanks go to participants who generously engaged in the pilot research study and continued into the current research. Their maturity, sensitivity, and playfulness filled my heart and soul. Our mutual relationships have grown wonderfully since we first met. Their contribution in advancing the field of community music therapy is significant. My deepest appreciation goes to Carolyn Kenny for her guiding, mentoring, and inspiring presence that has illuminated my path for the last 20 years. You have a very special place in my heart. I am truly grateful to my dissertation committee for their feedback, which helped me to find my own path: Elizabeth Holloway, Barbara Wheeler, Kenneth Aigen–thanks to all. I also want to thank the Antioch University Leadership and Change faculties who helped me throughout my doctoral studies: special thanks to Laurien Alexander, an incredible leader and visionary; Deborah Baldwin, a wonderful walker; and Carol Baron, who supported me through my “statistics challenge.” Thanks to Brynjulf Stige for the great mentoring on community music therapy. I could not have taken that journey without the unconditional support of my friends and music therapists’ colleagues: Marianne Bargiel, Sylvie Boisvert, Chrystine Bouchard, Anne-Marie Goulet, and Linda Labbé–who have followed every step of my last four years of doctoral studies. Merci! Thanks to the new generation of music therapists who are enlightening the practice: Aimée Gaudette-Leblanc, Christelle Jacket, Sarah Milis, Marinet Driessen-Saint-Amand, and Louis Saint-Amand. Thanks to music therapists i whose wonderful work has helped my own research process: Noele Bird, Maria Elena Lopez Vinader, Theresa Merrill, Shelley Snow, and Catherine Warner. A huge thanks to Rebecca Hosmer, my editor, who has done an incredible job on my thesis; to Carl Neugebauer for editing my papers; to Tzu Ying Hwong and Mathew Swerdloff for multimedia technical support; and to Sylvie Mailhot, graphic artist who generoulsly helped me with artwork. Words cannot render all the appreciation I have for my dearest friend, Eddy Auger, who has been a very important person in my life with his presence, support, and wisdom. My deepest appreciation and love go to my family: my daughter, Maude, for her continuing support and for editing my English numerous times; my sisters, Maryse and Julie; and my father, Guy, for their unconditional presence. Finally, I am deeply grateful to Claude Côté, an exceptional musician and artist– my life companion–whose presence, sensibility, and support have been of an inestimable worth. I would like to thank the Canadian Music Therapy Trust Fund for a generous bursary. ii [MUSIC 1: Entering] Abstract Community music therapy (CoMT) is a creative approach that liberates expressions, giving voice to groups of individuals of all age, status, and race who contribute, in their own way, to build a better society. In this dissertation, I intend to reveal some of the critical themes in the experiences and relationships that apprentice music therapists have with community music therapy, peace, social justice, leadership, and mentorship. Individual interviews were conducted with apprentice music therapists who participated in a co-researchers’ group experience using arts-based research (ABR) and participatory action research (PAR). Principles and foundations for a future model of practice in CoMT for peace and social justice emerged through ABR and phenomenology. This document contains embedded graphic files (JPG) and is accompanied by audio files (MP3). The electronic version of the dissertation is accessible at the OhioLINK ETD center http://www.ohiolink.edu/etd. iii TABLE OF CONTENTS Acknowledgements i Abstract iii Table of Contents iv List of Figures viii List of Tables ix List of Audio Files x Chapter I: Introduction 1 On Apprenticeship 1 The Ripple Effect 2 Overview of the Thesis 3 Purposes of the Proposed Study 4 Researcher Stance 5 On Socio-Cultural Influences 6 On Leadership 7 Leadership Social Contribution 8 Leadership and Service 9 Leadership and Qualitative Research 10 Gap in the Literature: Searching for Community Music Therapy 11 Epoche 13 Rationale for Investigating the Question 14 Researchable Question/Statement 15 Epistemological Approach 15 Scope of the Study 18 Assumptions of the Study 18 Future Implications 19 Strengths and Limitations of the Study 19 Multiple Researcher Roles 20 Being a Mentor 20 Qualitative Research Criteria 21 Knowles and Cole’s (2008) Criteria 22 Summary of Chapters 26 Chapter II: Literature Review 28 Community Music Therapy 28 Florence Tyson and music therapy in the community 30 Community music therapist and community musician 32 Peace 34 Music Therapists for Peace (MTP) 36 Teaching for peace and cultural issues 39 Multicultural music therapy studies 41 Social Justice 43 Leadership, social justice, and music 43 Teaching, leadership, and social justice 46 Feminist music therapy 48 iv Music, sociology, and psychology 50 Music, peace, and social justice 55 Community Music Therapy, Peace, and Social Justice 63 Mentoring 70 Mentoring apprentice music therapists 70 Arts and mentoring 72 Mentoring and the ripple effect 73 Summary 73 Chapter III: Methodology 78 Music Therapy Research 78 Art and science 78 Music therapy research: Quantitative-qualitative 78 Research paradigms 80 Choosing a Methodology 82 Qualitative Inquiry 84 Participatory Action Research 85 Participatory action research using arts for social justice actions 88 Participatory action research and music therapy research 90 A participatory action research and arts-based research pilot study 91 Phenomenology 94 Transcendental phenomenology 96 Phenomenology and sources of meaning 97 Phenomenology: Thematic reflection 98 Phenomenology and music therapy studies 98 Arts-based Research 99 Arts-based research and music 102 Arts-based research and music therapy research 105 Design Strategies 105 Selecting Participants 106 Data Gathering 107 Data Analysis 108 Ethical Issues 111 Chapter IV: Co-Researchers Narratives 113 Phases of the Study 114 Examplars of Community Music Therapy and Pilot Study Session 115 Community music therapy in action 116 A co-researchers’ group session 117 Research Group Experience 119 Group experience 120 Group process 121 Group support 125 Professional development 128 Personal development 129 Presenting the research study at conferences 129 v Prelude to community music therapy 132 Multiple relationships within the research process 133 Closure for the co-researchers group 135 Summary 135 Community Music Therapy 136 Defining community music therapy 136 Community music therapy: A new practice for co-researchers/participants 138 Community music therapy reframing music therapy and teaching practices 140 Community music therapy and culture 142 Reaching out to community 142 Is it music therapy? 145 Community music therapy and community music 145 Elements of community music therapy 146 Values in community music therapy 147 Developing and contributing to community music therapy 148 Envisioning the future 150 Summary 152 Peace 153 Peace–an idealistic and social concept 154 Defining peace in one’s music therapy practice 154 Summary 157 Social Justice 158 Defining social justice 158 Cultural influence on defining social justice 158 Social justice and scission 159 Social justice, an idealistic concept 160 Social justice and peace 161 Social justice and music 161 Social justice and music therapy practice 162 Summary 164 Mentorship 164 Defining mentorship 164 Peers mentoring 167 Mentoring relationships in the research group 168 Mentor versus supervisor 169 Mentor versus therapist 170 Mentor versus teacher 171 Dual mentorship relationships 171 On becoming a mentor 173 Summary 174 Leadership 175 Defining leadership 175 Summary 179 Mentorship and Leadership 179 Summary 180 Relationships between Community Music Therapy, Peace, and Social Justice 180 vi Summary 182 Training and Mentorship 183 Interview Process 186 Essence of the Whole Experience 188 Conclusion 190 Chapter V: Interpretation and Discussion 193 Creating My Own Narrative 193 Co-Constructing Community Music Therapy 194 Designing and Implementing Community Music Therapy Projects 195 Community Music Therapy and Performance 197 Community Music Therapy and Community Music