A Potential Space: Approaching “Outsider Research” with Classroom Practitioners Working with Children with Complex Needs in Belarus

Abstract

This paper will discuss approaches to ethical issues encountered in the development of the proposal for a PhD research project, to be undertaken by the first author, entitled “Psychodynamic music therapy and the work of classroom practitioners working with children with complex needs in Belarus: A potential space”. This research will be based at Novi Dom, a special school in Minsk, Belarus, and follows two skills-sharing projects undertaken there during 2009 (Margetts, Wallace and Young 2010), which were requested initially to support person-centred teaching initiatives by one of the founding charities of Novi Dom. The positive outcomes of these first two projects led to a request for further music-therapy-based input. The impetus for the first author's PhD research project has therefore evolved in response to this locally identified need (Trimble and Fisher 2006: 6). Writing and research around multicultural competency in music therapy have increased in recent years with commentators offering further consideration of the knowledge, skills and qualities needed by therapists, supervisors and trainers to work successfully with the complexities of the multicultural environment (Gilboa, Yehuda and Amir 2009; Wheeler and Baker 2010). The unique, rich sociocultural context of post-communist and modern Belarus offers an opportunity to explore fascinating areas of divergence and meeting of approaches to working with children with complex needs. A brief overview of geographical, historical, political and social factors which have contributed to this very specific context will be drawn from literature, as well as from both the experience of the authors, and that of fellow music therapists who have undertaken music-therapy-based skills-sharing projects in other post-communist countries (Quin 2004, 2007; Salcin-Watts 2007). Fundamental ethical challenges of psychodynamic music-therapy-based research within special education in Belarus will be explored from the perspective of outsider research as defined by David Bridges (2001, 2009). This discussion will be illustrated with clinical material from the projects at Novi Dom in 2009.

What About the Teacher? A Critical Interpretive Synthesis on Literature Describing Music Therapist/Teacher Consultation in Schools

“…This insight inspired Rickson (2010) to develop a consultation protocol in which she described processes for working with teaching staff to improve their ability to include students with high support needs through the use of music. Another application of music therapist teacher support outlined in the literature refers to work with school staff outside the therapists' country of origin (Bolger & McFerran, 2013;Coombes, 2011;Coombes & Tombs-Katz, 2009;Margetts, Wallace, & Young, 2013;McFerran & Hunt, 2008;Quin & Rowland, 2016;Rickson, 2009;Winter, 2015). These international programs typically take place at schools in geographical locations that do not readily have access to music therapy.…”

“…These international programs typically take place at schools in geographical locations that do not readily have access to music therapy. Several authors have described international programs in which music therapists aim to support teachers to use music therapeutically in order to address issues of trauma or grief experienced by school students in addition to promoting inclusivity (Coombes, 2011;Margetts et al, 2013;McFerran & Hunt, 2008).…”

“…Meg reflected on the dance program in her notes and interview transcripts independently and in regular supervision sessions in order to consider possibilities for how to respectfully make sense of this experience to inform her PhD project exploring music therapist teacher support programs. Margetts et al (2013) discussed the need for humility when engaging in research with a community with a cultural background other than one's own. Through further reflection, Meg realised that she had assumed that the dance teaching artist would facilitate the program in a similar way as herself as a trained music therapist and teacher, which had not been the case.…”

“…Some authors reported that the music therapist teacher support programs provided an alternative framework for understanding a child with additional needs (Pellitteri, 2000) and showed teachers about specific talents of students (Coombes & Tombs-Katz, 2009;Rickson & Twyford, 2011). Others described staff changing ways in which they spoke to students after engaging in the music therapy program and referred to improved relationships between staff and students (Margetts et al, 2013;McFerran, Crooke, & Bolger, 2017;Rickson, 2009). Coombes and Tombs-Katz (2009) mentioned that one teacher built their ability to manage stress throughout their participation in the music therapy program.…”

Humour in music therapy: A narrative literature review

“…Most commonly, humour was referred to as an integral part of therapeutic and relational work (Trevarthen, 1997); its presence an implicit sign of trust, and many music therapists mentioned the existence of humour as indicating a constructive development in the music therapy relationship (Aigen, 2013;Andsell, 2002;Baker et al, 2012;Bower & Shoemark, 2009;Cobbett, 2009;Hara, 2011;Holck, 2004a;2004b;Jackson, 2015;Jones, 2012;Margetts et al, 2013;Oldfield & Bunce, 2001;Rolvsjord, 2015;Silverman, 2014;Stensaeth & Trondalen, 2012;Tervo, 2005;Trondalen, 2001). However, as Silverman (2014) notes, despite the fact that humour clearly appeared to help build rapport between client and therapists there have not been any empirical studies to corroborate or explore this further.…”