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The Current State of Music Therapy in Costa Rica A THE CURRENT STATE OF MUSIC THERAPY IN COSTA RICA A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC WITH EMPHASIS IN MUSIC THERAPY IN THE GRADUATE SCHOOL OF TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF MUSIC AND THEATRE COLLEGE OF ARTS & SCIENCES BY LINDSY LEV, B.A. DENTON, TEXAS MAY 2020 Copyright © 2020 by Lindsy Lev DEDICATION Costa Rica es mi patria querida vergel bello de aromas y flores cuyo suelo de verdes colores densos ramos de flores vertió “Patriótica costarricense” Costa Rica is my beloved homeland Beautiful garden of aromas and flowers Whose soil of verdant colors Dense boughs of flowers spilled forth Costa Rican Patriotic Song A todos los y las musicoterapeutas en Costa Rica, pasados, presentes y futuros. Que veamos florecer y crecer nuestra profesión. To all the music therapists in Costa Rica, past, present, and future. May we see our profession bloom and grow. ii ACKNOWLEDGEMENTS First and foremost, my deepest gratitude goes to my participants, Beatriz Acosta, Katarzyna Bartoszek, Ana Lizano, Laura Mesén, Randi Steinkoler, Max Terán, and José Pablo Valverde. Thank you for opening a space for me in the Costa Rican music therapy community. This thesis would not have come to fruition without your willingness to share your experiences with me. My heartfelt thanks also go to my mother, Linda Ellison, for her invaluable help with the translation of this project. I can’t thank you enough. Special thanks as well to my husband, Eduardo, whose emotional and financial support during my whole journey through graduate school has kept me grounded and sane. I love you. I would also like to give thanks to Dr. Michael Zanders for advising me through my thesis proposal; to Dr. Christopher Madden for being on my initial thesis committee; to Dr. Nicki Cohen for stepping up as my advisor to get this project done after Dr. Zanders left Texas; to Dr. Linda Marshall for joining my thesis committee even though she is Professor Emerita; to Debbie Dacus for being part of my committee since day one; to Dr. Susan Harper for proofreading my proposal and my thesis; to my in-laws (Alejandro Lev and Patricia Guerra) and the Marshall family for letting me stay with them while I was in Costa Rica doing my fieldwork; and to all my friends who answered my pleas for study buddies so I could have company while I delivered the labor of love that is this thesis. Gracias totales. iii ABSTRACT LINDSY LEV THE CURRENT STATE OF MUSIC THERAPY IN COSTA RICA MAY 2020 Using an ethnographic approach, the author immersed herself for over 2 years in the community of music therapists who have worked in Costa Rica, leading to the emergence of two research questions: (a) What are the cultural considerations of practicing music therapy in Costa Rica? And (b), What challenges do music therapists face when attempting to practice music therapy in Costa Rica? These questions were addressed through qualitative coding of structured interviews and online correspondence with seven music therapists. Priorities for the future of music therapy in Costa Rica include the creation of the country’s first music therapy degree program and the incorporation of music therapy into a professional association. As a music therapist with dual citizenship in Costa Rica and the United States, the author hopes that this study will serve as the foundation for developing new music therapy opportunities in Costa Rica from a perspective of cultural humility. Keywords: music therapy; Costa Rica; ethnography; qualitative iv TABLE OF CONTENTS Page DEDICATION .................................................................................................................... ii ACKNOWLEDGEMENTS ............................................................................................... iii ABSTRACT ....................................................................................................................... iv TABLE OF CONTENTS .................................................................................................... v LIST OF FIGURES .......................................................................................................... vii Chapter I. INTRODUCTION ........................................................................................................... 1 Prelude ................................................................................................................ 1 “Where Is That?” And Other Questions ............................................................. 5 Participants ........................................................................................................ 18 Snowball Sampling and the Elusive Pioneers ................................................... 23 II. METHODOLOGY ....................................................................................................... 29 Source Method .................................................................................................. 29 Why Ethnography? ........................................................................................... 30 Epoché............................................................................................................... 31 Inclusion and Exclusion Criteria ....................................................................... 33 Anonymity (Or Lack Thereof) .......................................................................... 34 Issues of Voice .................................................................................................. 37 v Data Collection ................................................................................................. 39 Emergent Research Questions .......................................................................... 41 Making Sense of the Data ................................................................................. 41 III. RESEARCH QUESTION A: WHAT ARE THE CULTURAL CONSIDERATIONS OF PRACTICING MUSIC THERAPY IN COSTA RICA? ............................................ 45 Core Category 1: Cultural Norms ..................................................................... 46 Core Category 2: Legal Considerations ............................................................ 58 IV. RESEARCH QUESTION B: WHAT CHALLENGES DO MUSIC THERAPISTS FACE WHEN ATTEMPTING TO PRACTICE IN COSTA RICA? .............................. 69 Core Category 3: Reality of Professional Practice ........................................... 70 Core Category 4: Challenges of a Pioneer Community .................................... 81 V. IMPLICATIONS, RECOMMENDATIONS, AND CONCLUSIONS ....................... 92 Implications and Recommendations ................................................................. 92 Personal Involvement........................................................................................ 94 The Good News: Examples of Public Interest .................................................. 95 What Happens Now? ........................................................................................ 97 Towards a Culture of Camaraderie ................................................................. 100 REFERENCES ............................................................................................................... 101 vi LIST OF FIGURES Figure Page 1. Map of Costa Rica .......................................................................................................... 8 2. Word Cloud of Most Frequently Appearing Words in Aggregated Thesis Data ......... 43 vii CHAPTER I INTRODUCTION Prelude I planted the seed of this thesis on a grey November morning in Saint Louis. My AirBnB hostess’s hairless cat had just run to sit in front of the heat vent, and I was lingering in my winter pajamas over a cup of tea. As I sipped, I mulled over a conversation I had had the day before at the American Music Therapy Association (AMTA) National Conference with Julianne Parolisi, the founder of Music Therapy Without Borders (http://www.mtwob.org/). I had approached Julianne after attending a session in which she had detailed her work in the Cayman Islands to tell her how excited I was about the prospect of doing music therapy abroad, specifically in my native Costa Rica. When I explained my status as a dual citizen of Costa Rica and the United States, Julianne suggested that, maybe in the future, we could work together to bring a music therapy program to Costa Rica. The proposal sent me into a flurry of excitement and ideation, but I knew there was something I needed to do first before I could even begin to formulate a plan of such an ambitious scale. I was born and raised in San José in a bilingual and bicultural household, half tica1 and half gringa. I find myself caught in what Stige and Ledger call “a classic dilemma in ethnography (…) the tension between etic and emic perspectives” (Stige & 1 The term tico and its feminine form, tica, are explained on page 9. Ledger, 2016, location 17661). In other words, I am both an insider and an outsider in my own country, a duality of which I am painfully aware. I always knew that I would leave Costa Rica to attend a university in the United States, and that decision was cemented when I chose to pursue music therapy as a profession. To this day, music therapy is not offered as a degree program at any university in Costa Rica, or for that matter, anywhere in Central America (Kennedy, 2015; Terán, 2018). Furthermore, no one I knew in my adolescent years had even heard of music therapy. I boarded a
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