I have been thinking about the intersection of language, power, and music therapy ever since Voices put out a call for a special issue on this topic. Although I was not able to put something together for that special issue, it prompted me to consider this topic in my work with refugee children and teenagers. In this blog post, I aim to reflect on these intersections and their implications for practice.
Language and Power in Music Therapy
For me (and for many), any mention of the concept of “power” immediately brings Michel Foucault to mind. While I am still trying to process his ideas, there are some key takeaways that are quite relevant. Namely, that:
- power is present at all levels, from the macro to the micro-interactions we have,
- discourse and language possess an inherent power in our interactions with others.
This last idea is pivotal when considering how language impacts our therapeutic work. The way we think about music and language when working with refugee children can either empower or disempower them. Foucault’s concepts of “discursive power” and “normalizing power” provide a framework for understanding this topic. Foucault (1972) asserted that discourse generates knowledge and that there is no meaning beyond discourse. In the context of music therapy, this means recognizing the power dynamics inherent in the language we use and the ways we communicate with our clients.
Practical Applications and Reflections
In the face of a global refugee crisis, how can music therapy research with this population be expanded to include the diversity of languages that refugee children speak and encounter in their individual journeys? Can clinical guides be created, possibly even in multiple languages, for such a diverse population? Language is one among a myriad of factors that inform the work with this population, yet it is one that cannot be ignored.
Comte (2016) conducted a critical interpretive synthesis of the literature on refugees and discovered that “in 10 out of the 11 articles included in the synthesis, improvisation was cited as a method used by music therapists with refugee individuals for the purpose of transcending traditional language barriers to find a common musical language through which the therapeutic dialogue could occur.” Comte criticized the authors for not recognizing the culturally influenced aspects of improvisation by refugees. While this is partly true, my experience shows that there is more nuance when working with resettled children who have spent more time in a new country.
Indeed, my personal experiences range from music improvisations with children who could not speak the local language to working with children who spoke better German than I and wanted to hear and sing German pop and rap music that I could not reproduce. Empowering refugee children involves getting to know each child individually and allowing them to guide the process. However, this can be complicated in a group context where each child wants to have their needs heard.
In such cases, the leader or facilitator may determine the process and music selection with input from the children, which can be disempowering for children who do not speak the local language yet. It is crucial for facilitators to pay close attention to each child’s participation and assess whether language skills affect their involvement.
A Personal Story of Empowerment Through Music
I can think about the story of Anna (a fictional name). Anna developed from not being able to speak a single word in German to eventually being able to express herself and her wishes freely. During an individual lesson, she picked up the guitar to play and sing.
The guitar she was playing was tuned to an F minor chord, and although she had expressed that she did not want to sing or play guitar, she started strumming the guitar without pressing anything on the fretboard. After a short time, she started singing a melody of her own invention, which was built on the chord tones of the minor chord. Throughout her singing, she repeated a very similar melody in a loop.
She initially sang about something she had drawn previously and then proceeded to sing around six songs of her own creation, all topics chosen by her.
This experience with Anna demonstrated the power of empowering her to take the lead in her own expression without the need to “learn something.” By intentionally letting her lead, she found a resource in the guitar and her voice, which allowed her to put an emotional component to what was in her mind in the form of a song. However, it is important to note that the field of opportunities given to her was limited by me, as the therapist. As Foucault pointed out, my actions had a certain “influence” or “power” over hers.
Language was also an important part of the process in this case. Initially, when Anna arrived, she could not speak the local language at all. As she learned the language, she became more confident in expressing herself. Ultimately, she felt confident enough in her language skills to sing a few songs extemporaneously. While she could have done the same in her mother tongue, it is interesting to think about why she did not do so. Perhaps the relationship that was built between us allowed her to feel like she could engage in this way while I was present. How much this relationship was created because of having a common language is something that will probably remain unknown.
Cultural Awareness in Music Therapy
This topic also makes me think about Marisol Norris’ “three steps of cultural awareness”. This three-part process shared by Hadley and Morris (2015) provides guidance in exploring the therapist’s (1) self-awareness; (2) cultural knowledge; and (3) development of culturally relevant skills.
- Self-Awareness: This process describes how therapists should be humble and self-aware of their own biases, cultural narratives, attitudes about self and others, etc.
- Cultural Knowledge: Development of cultural knowledge is an important second step as it is important to learn about events, cultures, music, beliefs, and worldviews other than our own.
- Skill Development: Lastly, the third step is skill development. It refers to “the therapist’s ability to provide culturally relevant strategies and/or interventions” (Hadley & Norris, 2015, p. 3). I am currently learning a bit of Turkish and Arabic so that counts towards this step I believe. I do see the difference it makes in interacting with the children. Another aspect of the groups I lead through Bridges that relate to this step is, for example, learning songs from other cultures and languages and being able to reproduce them.
Conclusion
In summary, the intersection of language, power, and music therapy is complex and multifaceted. Understanding and navigating these dynamics is crucial for providing effective and empowering therapeutic interventions for refugee children and teenagers. By fostering cultural awareness, developing relevant skills, and being mindful of the power dynamics at play, music therapists can better support their clients in finding their voices and expressing their stories through music.
References
- Comte, M. (2016). “Critical Interpretive Synthesis of Literature on Refugees”.
- Hadley, S., & Norris, M. (2015). “Three Steps of Cultural Awareness”.
- Voices Special Issue on Language and Power in Music Therapy
- Michel Foucault on Power
- Bridges
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