Marian Liebmann leads a game during a Mediation Training Course, Gulu, Northern Uganda, March 2012

JKP are thrilled to share the news that in January this year Marian Liebmann was awarded an OBE for services to Social Justice through Art Therapy and Mediation.

On receiving the news Marian says she was very surprised, “A colleague had mentioned it to me but it was so long ago I hadn’t given it any thought. I was surprised too that it was an OBE rather than an MBE.” In terms of what it means to be awarded an OBE, Marian explains; “it means recognition for the work I’ve done over the years, and also recognition of my fields of work as important. The citation also includes ‘Social Justice’ which I am passionate about. I’ve been surprised by the number of people who have seen it in the paper and who regard it very positively – people who know nothing or very little about what I do – so it does help to raise the profile of my work with people who are not familiar with it.”

Over the course of her career Marian has worked in education, victim support, probation, art therapy, mediation, conflict resolution and restorative justice and in 2005 she received a special merit award of the Longford Prize for her pioneering work in art therapy, restorative justice and mediation.

Marian has written and edited ten books, including Art Therapy in Practice, Art Therapy with Offenders, Arts Approaches to Conflict, Art Therapy, Race and Culture, Mediation in Context, Art Therapy and Anger, and Restorative Justice: How It Works, all published by Jessica Kingsley Publishers.

The OBE ceremony will take place on 17^thMay.

“Anorexia is both the result of a protest against the cultural rule that your women must be beautiful.  In the beginning, a young woman strives to be thin and beautiful, but after a time, anorexia takes on a life of its own.  By her behavior, an anorexic girl tells the world, ‘Look, see how thin I am, even thinner than you wanted me to be.  You can’t make me eat more.  I am in control of my fate, even if my fate is starving.’” – Mary Pipher, “Reviving Ophelia”

Many people believe that the young woman who suffers anorexia epitomizes our culture’s definition of what it means to be feminine:  thin, passive, and eager to please. The metaphor is that she will become what our culture asks of its women:  to become non-threatening, taking up little space while being decorative and not intimidating and non threatening.

Beauty is a defining characteristic for women.  Girls worry about clothes, makeup, skin and hair – but mostly about weight. In our book, Healing Eating Disorders with Psychodrama and Other Action Methods: Beyond the Silence and the Fury with co-author Karen Carnabucci – we  talk about how this societal standard for beauty influences our image of ourselves and is one of the many contributors to the rise of eating disorders and chronic dieting struggles with girls and women.  Sadly enough this emphasis on appearance is quickly spreading to boys and men as well – and eating and body disorders are growing with them as well as we discuss in our book along with specific interventions for these populations.

Why is appearance so important?

We have moved from communities of primary relationships in which people know each other to communities of secondary relationships where appearance is the only dimension available for the rapid assessment of others.

Today’s media portrays desirable women as thin. In 1950, models averaged five feet, four inches in height and weighed 140 pounds.  Today, the standard is five feet, ten inches and 110 pounds!

A recent study found that 11 percent of people in the United States would abort a fetus if they were told it would grow into a child that would have a tendency toward obesity.  Elementary school children have more negative attitudes toward obese children than toward bullies. Obese students are less likely to be granted scholarships.  Being fat means being left out, scorned, vilified, and often bullied.

In order to help our young people value their true selves and grow into healthy adults, we recommend the need for love from family and friends, meaningful work, respect, challenges and physical and psychological safety.  They need identities based on character, talent, interests instead of appearance, popularity and sexuality.  Instead of scales and diets, we do better to promote healthful meals, family exercise, and a value system that de-emphasizes the importance of looks.

Psychodrama and related action methods, through role play and other explorative tools, provide an important route to discovering how to find and sustain these connections and identities in their lives.  These methods can be used in education and in community settings as well as in therapy.

As a psychodramatist and psychodrama trainer, I often ask my clients:

“If you were living on a magical island where weight, size, shape, appearance had no value and, instead were neutral, what would you find yourself focusing on?”

This question is a perfect question to think about – and, better yet, to act out in the psychodrama room. With these actions, we can experientially discover another reality, one that is healthy – and through the power of action methods old roles based upon body obsession can be transformed into new roles based upon character.

Hosted by the three editors of the book, Stella Compton Dickinson, Helen Odell-Miller and John Adlam, and attended by many of those who had authored individual chapters, the evening brought together not only music therapists, but many professional musicians, psychiatrists, psychotherapists and other mental health professionals. We were treated to an evening of beautiful music by the Henry Lowther Quartet followed by two solo oboe recitals. The editors, and Dr. Gill McGauley, Consultant Psychiatrist at Broadmoor Hospital, spoke about the ground-breaking work that the book sheds light on, and the proven effectiveness of music therapy with those in secure settings, especially in encouraging feelings of empathy. They also spoke about the rarity of being able to obtain informed consent for case studies involving high security offenders, another factor which makes this book unique.

Click below to see a video of Stella Compton Dickinson’s speech at the celebratory evening:

Click here to view the video on YouTube.

© 2013 JKP blog. All Rights Reserved.

Our booth was busy throughout the conference with attendees stopping by to browse our selection of new and recent books, including Early Childhood Music Therapy and Autism Spectrum Disorders and Developmental Speech-Language Training through Music for Children with Autism Spectrum Disorders.

We were thrilled to have several of our authors stop by our booth in the exhibit hall. Dr. Hayoung Lim, author of Developmental Speech-Language Training through Music for Children with Autism Spectrum Disorders, paid a visit to chat with colleagues at the conference.

We hosted two very successful book signings, one with Petra Kern and Marcia Humpal, the editors of our new book Early Childhood Music Therapy and Autism Spectrum Disorders, and one with Diane Austin, author of The Theory and Practice of Vocal Psychotherapy.

The field of music therapy is thriving and JKP acquisitions editor, Lisa Clark, was kept busy fielding questions from potential new authors. We strive to stay on the cutting edge of music therapy research and practice, so if you have an idea for a unique and innovative book on music therapy, please feel free to contact Lisa with your idea.

During the conference we encouraged attendees to drop a business card into our raffle bowl for a chance to win a free copy of the newly released title, Early Childhood Music Therapy and Autism Spectrum Disorders. We are happy to announce that Mary Kay Bonner of Whitestown, IN was the winner of this book. Congratulations, Mary Kay!

John Killick demonstrates some of the playfulness techniques showcased in his new book, Playfulness and Dementia: A Practice Guide in the video below.

Professor Dawn Brooker, Director of the Association for Dementia Studies, University of Worcester says:

“This book tickled my fancy. Just as many lonely hearts advertisements specify a GSOH as their top priority in a soulmate, I would specify the same requirement for those providing support and care to me and my family. This is not to trivialise the experience of living with dementia, but rather a recognition that laughter can help us through the most difficult places. This book is full of ways to connect people through fun. There is nothing disrespectful or silly about the words in this book. It is full of compassion and honesty. It will supply you with a springboard to joy.”

Watch Playfulness and Dementia in action:

Stella Compton Dickinson, editor

This is an edited extract from Forensic Music Therapy: A Treatment for Men and Women in Secure Hospital Settings edited by Stella Compton Dickinson, Helen Odell-Miller and John Adlam. This case study comes from Chapter 7, ‘Working with Conflict: A Summary of Developments in the Long-term Treatment of a Man Suffering with Paranoid Schizophrenia Who Committed Manslaughter’, by Stella Compton Dickinson and Manjit Gahir.

Introduction

This chapter describes the process of long-term music therapy over seven years with a man who we shall call “Ewan.” Ewan has given informed consent for case material to be used in telling the story of his rehabilitation; his real name has not been used. Ewan suffered with paranoid schizophrenia and whilst actively psychotic with hallucinations and delusions, he killed a man.

Overview

Committed to hospital for an indefinite period after being convicted of the offence, Ewan spent ten years in high secure detention without undertaking therapy until he requested a referral to music therapy, “to learn to play the violin” as his grandfather had done. He engaged in music therapy as his main psychological treatment. The intervention and its impact were new to the clinical team who had to adjust to the fact that internal changes were starting to happen for a patient who they had known to be static for many years. Thus their own past experiences, their judgments of Ewan in the face of fear when he had erupted with violent outbursts, and their perceptions for his future were all challenged.

Music therapy

Ewan’s fundamentally chaotic presentation was marked by fixed perseveration, which is typical of schizophrenia. Notable in his early musical improvisations were repeated, stuck, desperate, and stabbing sounding attacks on the piano keys. This represented exactly his situation and offence: angry, locked in, stuck, as if he had nowhere to turn. The therapeutic work required orientation to the here and now, rather than unlocking too much past material at once. Nevertheless, Ewan recognized how he could receive rather than reject my non verbal musical support. This elicited a maternal transference. Towards the end of the second assessment session, Ewan rushed from the room, having exclaimed his recognition within our musical improvisation that “you are supporting me! I have not felt like that since I was with my mother.”

The significance of this was central to the therapy as Ewan had been unable to mourn the death of his biological mother. He returned explaining that this experience had “brought a tear to my eye.”

Starting the treatment process

Ewan had never experienced any previous psychological therapy at all, so the same weekly place and time was an entirely new experience for him, which he almost religiously observed. As the therapy progressed, he became more proactive in ensuring that regular physical health appointments were not timetabled to coincide, as nothing had to come between him and his music-making. Over time, as he became more trusting in the continuity of his life and less fearful of sudden abandonment, he gradually extended his range and felt safe to play the piano on his own rather than with me. Ewan began to take responsibility for his own actions rather than remaining over-identified with his own victim self-state.

The mother–child dyad and symbolic musical representations

In session 12, Ewan elucidated on his feelings of stupidity and how he played on these as a childhood strategy. He said he had taken to “acting stupid” whenever he felt threatened by his father. The mother–son relationship was enacted symbolically as a maternal transference developed. The merged relationship that developed between Ewan and his biological mother during childhood was cemented when both mother and son cowered from the violence and physical abuse of the father. This relationship was represented musically in session 2 in which initially Ewan played mournfully on the recorder, copying my choice of instrument, then merging with it and introducing a sensual, rocking rhythmic pulsation which indicated an as yet unconscious underlying erotic transference. The music then became violent and angry as Ewan repeatedly hit a small glockenspiel as if he was a frustrated child waiting for dinner. This had a direct correlation to verbal material in which Ewan described the intimacy and frustrations that he felt with his mother. After this the music became mournful and sad although it finished in a resolved, harmonious fashion.

The index offence: developing victim empathy

In reference to the man who he had killed, Ewan attempted to make an offering in musical terms by sitting at the piano to play a piece which he entitled “Requiem.” At the time this felt sincere but also very sad, as I perceived that Ewan felt very clumsy and inadequate in trying to address such a huge and tragic event. From this state, the first expressions of remorse at the magnitude of his violent act began to emerge. Perhaps the fluctuations between reflecting on his offence and reflecting on his childhood suggested how Ewan was trying to make links in understanding why he had committed his offence.

Conclusion

The individual music therapy was characterized largely by a positive transference. Ewan completed his mourning process in the following two years of group therapy where he discovered how to be part of a “family,” as well as how to feel included and valued by others. He remains in custodial care at a lower level of security. At his care program review as the therapy closed, he described his recovery process in music therapy as “akin to the raising of Lazarus.” This biblical reference to Christ’s greatest miracle probably says at least as much about Ewan’s internal morbid state of loss, including loss of hope prior to engagement in music therapy, as it does about his creativity and ability to express himself and to develop through music therapy in a way which, after ten years of stagnation, he may have felt was miraculous.

Copyright © Jessica Kingsley Publishers 2012

You can listen to the podcast here, or go to This is Wisdom – Radio for more details. You can also find out more about Steven’s work on his blog: http://www.dramaticproblemsolving.blogspot.co.uk/

We live in a time of rapid transitions. The norms of fifty years ago concerning gender and parent roles have changed: men cook and care for children, women work in technological fields and direct companies. As well, children are informed about the world instantaneously from computers, and smartphones,which may cause a change in the roles of today’s parents and teachers.

There have been changes in the therapeutic milieu as well. Both children and adults attend various group expressive therapies as well as individual therapy. There is also much interest today in C.G.Jung’s wide concept of the psyche, that includes the inherited archetypes of the collective unconscious, as well as the personal unconscious (described by Freud), and consciousness. Among the major archetypes (Mother, Father, Child, Hero and Self) the Divine Child archetype has been popularly called the ‘inner child”, that part of us that we need for new beginnings, growth and creativity.

In sandplay therapy it becomes activated and urges us to play, be creative, discover and invent spontaneously with sand and miniatures. It also provides symbolic access to parts of our psyche that we have long forgotten- some may prove useful in solving problems, and in choosing new life directions, and some may help to identify difficult life events that we may have forgotten, but that continue to prevent development. Sandplay works with the entire psyche. This means that through symbolization with objects, sand and water, a person can gradually acknowledge in symbolic form, both problems and inner sources of strength. Jung noted on himself that the child within can find solutions to problems through play that the rational mind cannot access.

Today’s adults are more able to accept their “inner child” and their need for non-directive spontaneous play. What at first seemed “childish” becomes “childlike” and very moving. Often an adult begins Sandplay with a rational approach, choosing objects and moving the hands in the sand according to a preformed idea. But at a certain point play will also evoke early memories of spontaneous play, and the sandplayer will transition to a freer symbolic play.

Some important points for adults who do Sandplay are:

1. to relax and accept that there is an inner source of creativity, curiosity, discovery and new directions that has its own volition and is not connected to rational thinking.

2.  to relax and accept that there is an “inner guide” (sometimes called intuition) that accesses new images that may be at once strange and familiar, that we don’t need to interpret.

3. to relax and accept that there is a felt sense in the body while doing the work, that does not need to be explained, rationalized, justified, or understood. This may lead to enjoyment, or one may be swept into expressing something that is painful, but that wants to be seen and understood, at least in symbolic form.

4. to relax and accept that answers are within us, and that we are larger than we know, and have much more unknown depth and potential than we are aware of.

5. to relax and accept that there are wounded inner structures that can be changed and healed in Sandplay, without rational understanding. With less energy needed to suppress memory of difficult events, more energy is available for positive change in daily life. Decisions will be better based on real needs, actual potential, and be more productive or satisfying.

6. Sandplay can also be visually beautiful. The sense of creating something beautiful, feeling the artist in oneself, is life affirming, and can carry over into feeling self-assured in other areas of one’s life.

Music Therapy Research Blog interviews Dr. Petra Kern

Petra Kern is co-author with Marcia Humpal of the forthcoming JKP title, Early Childhood Music Therapy and Autism Spectrum Disorders. Petra is owner of Music Therapy Consulting, and  is recipient of the AMTA 2008 Research/Publications Award, editor of imagine, and author of numerous publications. She serves as the immediate Past President of the World Federation of Music Therapy (WFMT), on various editorial boards, and is a frequent international speaker and guest University lecturer.

May 24th, 2012 saw the book launch of the Play Therapy Dimensions Model: A Decision-Making Guide for Integrative Play Therapists  by Lorri Yasenik and Ken Gardner, held at Giuseppie’s restaurant in Alberta, Canada.

“It was a well-attended event with wonderful Italian food, wine and a great Jazz band! The focus of the evening was one of celebration of children.”

See the article and photos from the event here:

http://rmpti.com/launch.html