Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

who have so little anyway, reducing their leisure activities does not impact as much
as the vouchers which reward positive behaviour.
Initially, students may expect the same in music therapy. They may see the music
therapist as an authority figure and test how I react but my response is different. I
allow them to make decisions in the session and make it clear that they can choose
what to do because it is their time; I do not judge their behaviour, nor is there a
reward. This student-centred approach can take students time to get used to and
resistance and challenging behaviour can persist. However, this approach does
generally lead to cooperation as the students accept that music therapy is different and
our relationship is based on mutual respect. Describing a similar approach in drama
therapy, Emunah (2005) explains that ’with this approach…the clients have little to
resist because they are allowed to act as themselves; in fact, they may even be
encouraged to exaggerate their rebellious behaviour’ (p.111). I am also reminded of
Nordoff and Robbins’ (1977) basic premise, that there is always client participation
and resistance in the process of creative music therapy.
Structure is imperative with students who show resistance. During a session, it is up
to the therapist to facilitate a practical framework that both creates space but also
provides support to the student. If this is not in place the session will most likely end
with the student leaving the room. Resistance from students, who refuse to attend and
call it rubbish often occurs when therapy is addressing difficult feelings. Their protest
is often made in front of other people and may be an act of bravado that claims they
do not need support. However, even the loudest student in this situation will usually
return to music therapy when they are ready.
If a student refuses to attend, I usually return to them the next day or when space is
available. Students know that they are cared for, that their work in therapy is
important and I have to allow for days when they are not able to attend because they
are feeling totally unmotivated, depressed or angry. By picking up students soon after
a missed session, I can work with their feelings that became a barrier to them
engaging and try to find a way in to the student’s thinking. There are numerous
occasions when students have refused music therapy on one day and been very keen
for a session the next. Managing young people and meeting their needs, whilst not
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