Beruflich Dokumente
Kultur Dokumente
Introduction
In spite of overall international goals to attain full participation and equality (United Nations, 2006), children with visual impairment often experience exclusion (Vision 2020, 2007; World Health Organization, 2012).1
301
2
We choose to rely on terminological suggestions proposed by the UN (2006). This entails
not using the term blind children. Since children with blindness is not in use, the term
children with visual impairment is employed. Visual impairment is an umbrella term
including low vision and blindness. The focus in this paper is on children that cannot use
their vision in everyday life.
302
In the included literature, two case studies have been identified: one conducted by Orff (1982) and the other by Salas and Gonzalez (1991). Orffs (1982)
study is about a 3-year-old girl named Antonia. Orff (1982) describes that
Antonia, during the music therapy process, develops relationships with both a
therapist and instruments and a sense of agency. The case study of Salas and
Gonzalez (1991) describes Gabriela, a 4-year-old girl with visual impairment and
multiple disabilities. The main therapeutic approach is clinical improvisation,
giving a response to all of the expressions and initiatives that Gabriela showed.
They describe the process as going from isolation to participation (Salas &
Gonzalez, 1991). Both Orff (1982) and Salas and Gonzalez (1991) work from
a humanistic, client-centered approach.
In contrast, the next two empirical studies are from a more behavioristic
approach and consist of studies by Kern and Wolery (2001, 2002) as well as by
Robb (2003). Kern and Wolery (2001, 2002) carried out a study on the interactive participation of a 3-year-old boy by adapting a playground in a musical
way. The researchers added musical stations, connected them with a soundpath,
and carried out staff training. Robb (2003) focuses her study on attentive
behavior in both play-based and music sessions and on the participation of
groups in the different forms of sessions. Her study includes 12 children between
4 and 6 years of age who were enrolled in an early intervention program due to
their visual impairment.
Another interesting contribution to the field of music therapy and children
with visual impairment is the work of Codding. Coddings (2000) literature
review includes 27 studies and 17 case studies and argues how music is used
in relation to musical and nonmusical aims. Kern (2006) did an interview with
Codding, addressing mainly early intervention with children with visual impairment. Codding (Kern, 2006) highlights here the impact music therapy has on
development, especially in terms of sensory stimulation, motor development,
orienting, and normalizing. She looks at music as a natural tool to promote the
exploration of the environment. Music can further reduce the isolation of the
child and the family. Gourgey (1998) and Decker-Voigt (1994) mention similar
topics in their articles. Gourgey (1998) reviewed literature from the field of
psychology on children with visual impairment. He suggests three areas of
importance: exploration of the environment, modification of blindisms,3 and
socialization (Gourgey, 1998). Decker-Voigt (1994) mostly focuses on the effect
of music on the brain and on music therapy in general, but topics of importance
related to people with visual impairment include the different perception of the
world, isolation, and the potential of music in this context. Wrogemann-Becker
(2010) explores the ego development in children with visual impairment. She
worked for 2 years with six children with visual impairment between 3 and 7
years old and explores the development of a relationship between herself and the
children from a psychoanalytical approach.
3
Stereotype behaviour.
303
The two last articles we want to present are mainly descriptions of work
settings. Bertolami and Martino (2002) describe methods and activities in their
article, such as songwriting, which they use in their work. They emphasize the
value of working interdisciplinary and the possibility of providing co-therapy
with professionals from other disciplines. Silva (2006), in his conference poster,
evaluates the implementation of music therapy in a rehabilitation center for
children with visual and multiple impairments. He describes the inclusion in
terms of the family, school, and social environment of children with visual and/or
multiple impairments as the overall goal of the center.
In spite of occasional references to social processes such as inclusion, the
music therapy literature reviewed earlier, to a large degree presents an individualized view of disability.4 Participation is conceptualized as individual conduct
rather than as something relational that has to do with both the individual and
community. The notion of participation, as used by Robb (2003) and Kern and
Wolery (2001), appears to be more of a behavioral category than a societal ideal
and process. Most of the articles are from a behavioral (Codding, Kern &
Wolery) or psychoanalytical (Decker-Voigt, Wrogemann-Becker) music therapy
tradition and do not include a societal perspective. However, the literature
reviewed clearly testifies to the importance of music therapy for the development
of relationships and interaction, and of skills such as orientation and mobility.
The difficulties of children with visual impairment are highly dependent on
their environment (Brambring, 2006; Tellevik, 2008). It would be natural, then,
to work not only with the child individually, but also with the childs environment. However, this does not emerge as a main approach in the music therapy
literature reviewed. In order to look at the societal dimension which is missing in
this literature, we need to look at participation from different theoretical perspectives and examine theoretical ideas that are relevant for practice, research, and
further theoretical discussion.
Theoretical framework
Our research approach in this study is a theoretical one; we focus on critical
theorizing and conceptual elaboration. We want to develop a theoretical understanding of the notion of participation in the context of visual impairment, and
we want to discuss childrens possibilities for participation in and through music
therapy. In order to develop theoretical ideas that are relevant for practice,
research, and further theoretical discussion in the field, we explore links between
these notions.
Drawing theories from different fields requires an approach that is reflexive
(Alvesson & Skldberg, 2000/2009). In order to explore different notions and
4
This claim is made here specifically in relation to visual impairment, but as discussed in
Vol 14 No 3 of Voices in a special issue on music therapy and disability studies this
might characterize music therapy more broadly, also.
304
theories and to use our own experience and understanding to reflect on differences and similarities, we find it necessary to situate ourselves in a hermeneutic
research tradition. Our approach is informed by the pre-understanding that
participation not only has an individual dimension to it, but also a social and
political dimension. This requires a theoretical framework that takes these
dimensions into account. The framework we employ emerges from critical
theory and fields that are informed by critical theory, such as community
music therapy, critical special education, and disability studies.
The term critical theory is used in different ways. We refer to how the term
is used by the Frankfurt School, a Neo-Marxist academic tradition that traces
back to the Institut fr Sozialforschung, founded in 1923. A main task for critical
theory based on Marxist theory is to uncover an ideology in established modes of
thinking in a society [Ideologiekritik]. The basic assumption is that there is a
connection between peoples ideas and theories and the social and economic
structures of a society. Through the systematic uncovering of the dependency of
ideology, the aim is to criticize and help overcome social structures that maintain
unequal societal conditions.
The separation of individual and society, through which the individual accepts the
limits of their activity as natural, is relativized in critical theory5 (Horkheimer,
1937/1970, p. 28)
Methodological considerations
Compared to methods in empirical research, building theory through theoretical
research tends to be freer and more open for creative imagination and critical
5
Our translation.
305
Some might argue that a reflective synthesis lacks the rigor of theorizing
based on empirical research. We will argue that for complex practices such as
music therapy, it is extremely important to allow for theoretical research methods
based on constructive speculation and critical reflection, in order to encourage
the development of new or more nuanced perspectives (for a related argument,
see e.g., Weick, 1995).
In writing this article, we selected literature that would contribute to the
discussion of a critical notion of participation, both in general and in the context
of children with visual impairment in particular. Looking for similarities and
differences and evaluating the ideas presented in literature, we then synthesized
the emerging ideas by using our pre-understanding and overarching theoretical
framework as resources. As suggested earlier, reflexivity is a core component of
this method, developing knowledge through participant observation of the field,
dialogue, examination of literature, and reflection.
We will approach the theoretical examination by first examining the notion of
participation more generally, exploring the use of the notion in different fields
that provide a background for the discussion of a critical notion of participation.
Then, we explore participation as an individual capacity related to the need for
companionship and development. In the next section, the focus is on participation as a human right and democratic value for children with visual impairment.
Through synthesizing arguments, we elaborate on the conditions that allow
musicking as an activity to afford the potential of a space for mutual participation
that promotes individual and communal resources for children with visual
impairment.
306
6
The terms impairment, disability and handicap from the version of 1980 have been
substituted by impairment, activity and participation.
7
Our translation.
307
underrepresented in the ICF and the emphasis still lies on the individual, rather
than on the environment.
Stige (2006) reviewed and discussed music therapy literature on participation
in order to stimulate systematic reflection on the notion and developed the
following definition to provide a platform for discussion:
Participation is a process of communal experience and mutual recognition where
individuals collaborate in a socially and culturally organized structure (a community), create goods indigenous to this structure, develop relationships to the activities, artifacts, agents, arenas and agendas involved, and negotiate on values that
may reproduce or transform the community. (Stige, 2006, p. 134)
Other music therapists who stress the relevance of participation in terms of social
participation in music therapy include Frohne-Hagemann (2001), Krger and
Stige (2014), Procter (2004, 2011), Rolvsjord (2010), Ruud (1998), Schwabe and
Haase (1998), and Aasgaard (2002). Pavlicevic (1997), Rolvsjord (2002, 2010),
Solli (2008), and Trondalen (2008), among others, emphasize the experience of
mutuality in interaction in the context of music therapy. For Ruud (2010),
participation is the missing link between health and culture. As Gary Ansdell
points out, Music is seldom just a private pleasure it is always already social
participation (Ansdell, 2004, p. 68). In the growing body of community music
therapy literature, the notion of participation is crucial.
Other fields of music study that can inform the discussion of participation of
people with disabilities include the emerging fields of ethnomusicology of
disability and music and disability studies/cultural disability studies (Lerner &
Straus, 2006; Lubet, 2004, 2011; Straus, 2011). Researchers in these fields look
into the relationships between disability and music. As Lubet (2011) states,
participation in music is a human right and, therefore, also a disability right.
The literature reviewed illuminates participation as individual capacity and
need, as well as a social ideal, process, and a human right. In the following
sections of this paper, we want to elaborate further on these aspects of the notion
and relate them to the reality of children with visual impairment.
308
human beings are social in nature and that they need companionship for development (e.g., Buber, 1923/1965). Feuser (2000) describes isolation as something
that must be overcome and dialogue as something that needs to be established.
For Feuser, the inner perspective of participation is dialogue.
Early interaction between a child and caregivers is considered crucial for
social and emotional development. In relationship to children with visual impairment, the focus in literature is often on the challenges. It is emphasized that
vision plays an important role in early interaction between caregivers and
children and promotes attachment and joint attention (e.g., Schore, 1994; Stern,
1985). Daniel Stern (1985) describes vision as being crucial for joint attention,
and Selma Fraiberg (1979) suggests that vision affords an elementary form of
initiative in human partnership long before there can be intention (Fraiberg,
1979, p. 156). The focus on the childs limitations represents able-bodied
perspectives and says perhaps more about the difficulty of the caregivers to
adapt to the childs signals than about relational possibilities. As Cutter (2007, p.
13), an early childhood specialist for orientation and mobility, emphasizes,
differences arent deficits. The studies of both Bigelow (1995) and Preisler
(1991, 2005) show that interaction and communication works if caregivers adjust
themselves to the child with visual impairment and use touch and voice to
establish a relationship. Preisler (1991) links this to amodal perception, the
capacity to process and translate a sensory impression across modalities (Stern,
1985). To illustrate this, we want to refer to an example given by Trevarthen.
Trevarthen (1999) analyzed a video of a mother and her 5-month-old daughter
who has congenital blindness and uses it to explain the notion of amodal
perception. The video shows the mother singing songs accompanied by the
gestures of her daughter. According to Trevarthen (1999), the daughter is acting
like a trained conductor, accentuating high notes, and closing her hands on the
end of the phrases. Trevarthen (1999) considers the baby and mother as equally
competent partners in this performance. This example does not only illustrate
psychobiological capacities as well as the importance of amodal perception, but
it also illustrates an arena where musical knowledge is appropriated. According
to Pavlicevic and Ansdell (2009, p. 362), musicianship is a cultivated facility of
musicality-in-action within sociocultural contexts. It involves the skillful coupling of musicality to specific musical cultures, traditions, games, techniques and
artifacts. For them, musicianship is linked to affordances offered by situated
musics8 and characterized as the process of communicating and generating
musical knowing through musical doing (Pavlicevic & Ansdell, 2009, p. 362).
Musicianship can be understood as our personal musical history, as appropriated
musical knowledge in social contexts. Musicianship is then a resource for
The notion of musics traces back to ethnomusicology and refers to the many various
traditions of music and music making in various societies. The notion has been adopted by
Stige, who relates it to processes of meaning making and the possibility of recontextualizing objects and practices (Stige, 2002, p. 94).
309
Our translation.
310
design, today it is adapted to other contexts such as learning (e.g., Bowe, 1999) and
disability studies (e.g., Wendell, 1996). DSouza (2004) argues that universal
design can be seen in a critical theory paradigm in terms of knowledge generation
and as linked to emancipatory attitudes. In our view, the concept of universal design
can be valuable to music therapy, especially for the discussion of participation. An
interesting example in this context is the sensory friendly concerts (Shiloh &
LaGasse, 2014). These concerts are facilitated by community music therapists,
based on the premises of the autistic community.
In addition to the idea of universal design, an elaboration of the notion of
health musicking can help clarify the notion of participation in relation to music
therapy. The notion of health musicking was developed in music therapy theory
by Stige (2002, 2003/2012), building on Smalls concept of musicking (1998)
and DeNoras notions of affordance and appropriation (2000, 2007), as well as
the praxeology of Wittgenstein (1953/1967) and others. The concept clarifies
how health-related meanings and effects of musical engagement depend on
situations of human action and interaction, and the notion has been discussed
by both music therapists (Bonde, 2011) and music sociologists (Batt-Rawden,
Trythall, & DeNora, 2007; DeNora, 2007).
It is crucial to note that music is not per se facilitating mutual participation.
Lubet (2004) argues that Western classical music presents formidable impediments
to full participation, most notably to the vision-impaired (Lubet, 2004, p. 134). He
highlights Western classical musics dependence on notation, which provides a
clear barrier for participation for people with visual impairment. Contrasting this, or
rather describing an exception, Lubet (2011) describes the Al Nour Wal Amal
(Light and Hope) Orchestra of Cairo. All members are females who have a visual
impairment. Lubet (2011), with reference to Smalls (1998) study on symphony
orchestra concerts, criticizes its Eurocentrism, androcentrism, totalitarian structure,
and exemplification of the industrial capitalist factory model of production (Lubet,
2011, p. 77). Nevertheless, for Lubet (2011), this orchestra, which is in a country
where girls and women with visual impairment do not have many opportunities for
participation, is an example of the liberatory impact of a foreign music in
transcending social norms (Lubet, 2011, p. 69).
Both Lubet (2004) and DeNora (2007) refer to Marthas Vineyard, an island
that had an unusually high percentage of people with a hearing impairment.
Deafness was considered a normal variation and not a disability or impairment.
Lubet uses the example to show that impairment can be culturally contingent
(Lubet, 2004, p. 134). DeNora (2007) uses it somewhat similarly, but relates it to
the performance of health.
We want to argue that the practice of community music therapy can create
spaces comparable to Marthas Vineyard; spaces where variety is the standard
and where barriers for participation for children with visual impairment are
reduced. This leads back to the question of how music therapy can create
possibilities for participation.
311
312
313
make a difference for the child, the family, and the community. A critical notion
of participation moves the focus away from the individual only and toward our
understanding of community, music, and health. Consequently, it may stimulate
critical awareness and further discussion of the structures we practice and
practice within.
Notes on contributors
Maren Metell studied music and special education in Berlin, trained as a music therapist at
the University in Bergen and holds also a Masters degree in visual impairment pedagogy.
She is interested in the links between disability and social and musical participation and
works currently at Statped Southeast, Department for Visual Impairment and at the Grieg
Academy, University of Bergen, Norway.
Brynjulf Stige is Professor of Music Therapy at the University of Bergen (UiB) and Head
of Research at GAMUT The Grieg Academy Music Therapy Research Centre, UiB and
Uni Research Health. Stige has published books and articles on culture-centred music
therapy, community music therapy, and music therapy theory. He was founding editor of
Nordic Journal of Music Therapy from 1992 to 2006 and is founding co-editor of Voices:
A World Forum for Music Therapy.
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