Parallel journeys presentation


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This is the powerpoint from a paper I gave at the European Congress for Music Therapy in Eindhoven,

Published in: Health & Medicine, Technology
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Parallel journeys presentation

  1. 1. Parallel Journeys:How a Music Therapist can travel with his client.Henry Dunn
  2. 2. He always believed that individual analystshad to find their own way, in effect torediscover for themselves what others hadfound in their own way. This makes his workimmensely appealing to younger therapistsseeking a path that can make the most oftheir individual histories, talents andinterests.F. Robert Rodman, Preface to Winnicott,Playing and Reality, Routledge Classics2005
  3. 3. Case Study: JamesMental Health In-patient.23 years old.Reasons for referral: auditory hallucination, experienced as “Friendly” or “Bad”. difficulty expressing emotions. difficulty forming relationships, especially since his motherhad committed suicide (when he was fourteen).
  4. 4. Assessment PeriodSix week assessment.Each session lasted forty five minutes.James initially apprehensive – not sure what he shoulddo.I played simple chords on piano, James played phrasesabove.Further sessions offered, with a view to long term work.
  5. 5. Opposites• male and female• friendly and bad• white and black• good and evil• structure and freedom• active and passive• client and therapist?
  6. 6. Jung met with music therapist, Margaret Tilly.Said all analysis should include music.Dorinda Hawk Hitchcock, The influence of Jung’sPsychology on the Therapeutic Use of MusicJBMT Vol 1 No2, 1987
  7. 7. Emerging theme of Opposites:explored through various methodsImprovisation at the piano.Structured improvisation on other instruments.Sandplay work.
  8. 8. Further methodsListening activities.Exploring recorded music together.
  9. 9. Opposites in Jungian termsIn analysis the coniunctio, the union ofopposites, symbolises (a) the interaction of theanalyst and that of his analytical “opposite”, thepatient, (b) The differentiation and integrationinto his ego of conflicted and warring elements inthe patient’s psyche, (c) The interpenetrationand integration of conscious and unconsciousparts of the patient’s psyche.Andrew Samuels,Jung and the Post Jungians,Routledge 1994, p179
  10. 10. Wounded Healer…the image of the wounded healer, with itsinherent contradiction, is an archetypalimage, and therefore, the bipolarity of thearchetype is constellated. But we tend tosplit the image so that the analyst figure inthe therapeutic relationship becomes allpowerful; strong, healthy and able. Thepatient remains nothing but a patient;passive, dependent and prone to suffer fromexcessive dependency…”Jung and the post Jungians, p187
  11. 11. The healer then becomes “only-doctor”, healthy and strong, while thepatients become “only patients”, sickand weak.Mercedes PavlicevicMusic Therapy in Context,Jessica Kingsley 1997, p178
  12. 12. I look at the music therapeutic relationship asa more mutual relationship than the typicalrelationship in verbal psychotherapy. Becausethe music therapist also plays music in thework, there is always the possibility of healingfor the therapist as well, even when it is notthe therapist’s intention.In order for the transformation to take place,the music therapist and the client must go on amusical journey togetherAn Intersubjective Approach to Music Therapy: Identification andProcessing of Musical Countertransference in a MusicPsychotherapeutic Context.Benedikte Scheiby, Silver Spring: 2005. Vol.23 Iss.1
  13. 13. If the purpose of analysis is transformationand if analysis is conceived of as a mutual,dialectical procedure, we may conclude thatthe goal of analysis is mutual transformation.What happens in the treatment may changethe analyst, illumine his life, face him withproblems and opportunities of which he wasnot cognisant. Jung took this even further toassert that unless an analyst felt a personalimpact arising out of the analysis, nothingwould come of it.Jung and the Post Jungians, p176
  14. 14. You can exert no influence if you are notsusceptible to influence…..The patientinfluences [the analyst] unconsciously…One of the best known symptoms of thiskind is the counter-transference evokedby the transference.C.G. JungCollected Works 16 para 163
  15. 15. Through introjection an analyst perceives apatient’s unconscious processes in himselfand so experiences them often long beforethe patient is near becoming conscious ofthem.Fordham, quoted by Samuels p192
  16. 16. It appals me to think how much deepchange I have prevented or delayed…by mypersonal need to interpret. If only we canwait, the patient arrives at understandingcreatively and with immense joy, and I nowenjoy this joy more than I used to enjoy thesense of having been clever.Winnicott, Playing and Reality,Routledge (2005) p116
  17. 17. Psychotherapy takes place in the overlap oftwo areas of playing, that of the patient andthat of the therapist. The corollary of this isthat where playing is not possible then thework done by the therapist is directedtowards bringing the patient from a state ofnot being able to play into a state of beingable to play.Playing and Reality, p51
  18. 18. …playing facilitates growth and thereforehealth; playing leads into grouprelationships; playing can be a form ofcommunication in psychotherapy; and lastly,psychoanalysis has been developed as ahighly specialised form of playing in theservice of communication with oneself andwith others.Playing and Reality p56
  19. 19. Conscious analyst ego patient egoUnconscious archetypal image
  20. 20. Conscious analyst patienthealer woundedUnconscious wounds archetypal image(personal) of wounded healer
  21. 21. Conscious analyst patienthealer woundedUnconscious wounds archetypal image healer(personal) of wounded healer (personal)
  22. 22. analyst patienthealer-wounded wound-healedwounded healer