Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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2.4.2 Drama therapy Drama therapist, Naitove (1981), uses a multi-arts approach in group work with adolescents and includes sound, movement, mime, art and puppetry. Her approach aims to reaffirm the adolescent’s individuality by responding to the client’s creative ideas. Naitove notes the importance of working with the individual within the group, the need for group solidarity, the way groups can be motivated and how opportunities for humour and play make the therapy particularly attractive to adolescents. Drama therapy as one of the forms of treatment for disturbed adolescents in a therapeutic community is arguably ‘an essential treatment for those groups which, because of poorly developed ego structure, find verbal expression difficult’ (Shuttleworth, 1981, p.171). Shuttleworth describes the use of talking groups as well as drama therapy for these young people but argues that the drama group can feel more secure and where problems can be addressed directly. ‘It is often easier to act out conflicts and so initiate new ways of coping than it is to talk about them’ (p.159). A key feature of his work is the use of sculpting, where group members are invited to use either inanimate or animate objects in the room to present themselves and their life, thus providing the therapist with insight into how the adolescent views his world and an opportunity to respond. American drama therapist Hollander (2002) illustrates how psychodrama can engage ‘at risk’ youth and how by acting with family members, can learn to communicate with creativity and humour. Kruczek and Zagelbaum (2004) present the case for psycho-educational drama as a way to help adolescents look at risky behaviours and Dayton (2007) offers practical ideas for experiential group therapy where the actor’s stage, as in ancient Greece, can be ‘a safe place to explore and explain psychological and emotional themes through role-play (p.197). Emunah’s (1985) student-centred approach to drama therapy describes adolescents’ resistance, rebelliousness and ways to work constructively with them. Drama can provoke high levels of anxiety in teenagers and three areas of resistance are highlighted: adolescents are very self-conscious and concerned with appearance; adolescents may associate drama with performance and are fearful of being on show; acting out may be seen as being childish and acting out in role-play can be ‘extremely ! $#!
threatening for the adolescents who are undergoing a period of instability and flux’ (p.75). Emunah understands that the extreme low self-esteem of some adolescents makes their anticipation of failure even more exaggerated but describes her approach in three stages. At first, she works with their resistance in a playful way and allows the students to share control and let them take the lead. Secondly, the group may be willing to engage in dramatic play, having relinquished some of their resistance, but they may still need to act cool so as not to threaten their identity and approval from others in the group. At this stage both the adolescents and the therapist can work together on a scene which allows the final stage of therapeutic direction and improvisation to take place. The adolescent’s use of drama to re-enact realistic situations ‘in an attempt to understand and master their conflicting emotions’ (ibid. p.120) can provide perspective but the initial task for the therapist is to overcome the adolescent’s resistance. 2.5 Arts therapies for adolescents in schools Pioneers in the arts therapies, including Nordoff-Robbins (1971, 1977), Alvin (1975, 1978), Jennings (1987) and Waller (1991), work in different school settings. There are articles on school-based programmes for mental health promotion (Durlak and Wells, 1997), specifically for looked-after children (Christensen, 2010; Prokofiev, 2010; Tortora, 2010) and studies which highlight the role of therapy in mainstream schools (Karkou, Fullarton and Scarth, 2010; Koshland, 2010; Tortora, 2010). Even though they may not specifically address adolescents, some texts do refer to children and include those who are secondary-aged (Donnelly, 1992; Tytherleigh, 2010). Karkou and Glasman (2004) advocate the role of the arts and arts therapies in schools to promote the emotional well-being and social inclusion of young people. There are several descriptive articles and case studies which focus on the use of arts therapies with disaffected and disturbed adolescents in schools (Jennings and Gersie, 1987; Riley, 1999; Christensen, 2010; Karkou, Fullarton and Scarth, 2010; Quibell, 2010). Karkou, Fullarton and Scarth (2010) argue that the arts therapies, and in particular dance movement psychotherapy, benefit adolescents with emotional and behavioural difficulties to engage and explore emotional and social issues in a nonthreatening way. Other case studies describe work with students who have Autism or ! $$!
Page 1 and 2: ANGLIA RUSKIN UNIVERSITY MUSIC THER
Page 3 and 4: Marion Long Thank you for conductin
Page 5 and 6: 2.4 Arts therapies for adolescents
Page 7 and 8: 5.3.3 Recruitment and grouping ....
Page 9 and 10: 7.7.2 On talking, playing and being
Page 11 and 12: COPYRIGHT Music Therapy for Youth a
Page 13 and 14: LIST OF FIGURES Chapter 3 Figure 3.
Page 15 and 16: Figure 7.5.3 Do you think you get e
Page 17 and 18: LIST OF TABLES Chapter 5 Table 5.2
Page 19 and 20: CHAPTER 1 INTRODUCTION 1.1 Introduc
Page 21 and 22: 1.2 Adolescence and adolescent cult
Page 23 and 24: Comments on an article concerning t
Page 25 and 26: week. He was quite happy to have th
Page 27 and 28: (Grimshaw, 1996). Although this ter
Page 29 and 30: start. However, school files which
Page 31 and 32: When there is emotional distress, t
Page 33 and 34: and counter-transference. In chapte
Page 35 and 36: 1.5.2 Overview of methodology In or
Page 37 and 38: CHAPTER 2 LITERATURE REVIEW 2.1 Int
Page 39 and 40: 2.2.1 Literature on adolescents and
Page 41 and 42: influence or impress others as a me
Page 43 and 44: how it can ‘enhance a variety of
Page 45 and 46: 2.3.1 Descriptive articles In a pub
Page 47 and 48: De Backer (1993), in his account of
Page 49: with authority figures, even gangin
Page 53 and 54: Recurring themes in drama therapy a
Page 55 and 56: In the UK, a randomised, controlled
Page 57 and 58: acquire musical skill. ‘First and
Page 59 and 60: 2.7.1 Descriptive articles There ar
Page 61 and 62: emotional and behavioural problems
Page 63 and 64: school time and attendance was high
Page 65 and 66: The sessions aimed to increase the
Page 67 and 68: are, whatever educational setting t
Page 69 and 70: had an impact on music therapy and
Page 71 and 72: 3.2.1 Inclusion The Government Gree
Page 73 and 74: The Learning Support Unit at Cotten
Page 75 and 76: The school focuses on individual le
Page 77 and 78: alcohol or drug addictions, many ar
Page 79 and 80: all students in music therapy is to
Page 81 and 82: asked if he could take one of the w
Page 83 and 84: Figure 3.4.2 After the bike worksho
Page 85 and 86: 3.5 Music therapy and the education
Page 87 and 88: eginning I used to talk to staff as
Page 89 and 90: many of these students can seem dir
Page 91 and 92: others to hear what is being played
Page 93 and 94: CHAPTER 4 (WITH DVD) AN APPROACH TO
Page 95 and 96: particularly well with adolescents
Page 97 and 98: Rogers’ methods, and the form of
Page 99 and 100: my approach has been shaped by the
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time!” he shouts and I react “T
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a free-flowing stream of expression
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Music is often related to on an emo
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Subsequently he was able to share h
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Adolescents who are not sure of the
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It is important to address the use
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Vignette 4.5 Gary, 15, wanted to si
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to me and say “that’s it”. To
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Then, in his sixth session he stopp
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Figure 4.4.6 Rose’s drawing She s
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Gerald in the story, the most remar
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letting them rule, can feel chaotic
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CHAPTER 5 METHODOLOGY 5.1 Introduct
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Table 5.2 Overview of the design an
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Group B could be considered as a wa
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5.3 Participants Students at risk o
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Figure 5.3.3 Recruitment and groupi
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students’ choosing. The work vari
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The Beck Youth Inventories of Emoti
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School generally find reading more
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Effort was made to match the subjec
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allows profiling across scales…an
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e shared out between them. As the p
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Table 5.9.1 Topics set out in the i
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5.9.2 Thematic review of interviews
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CHAPTER 6 KEY FINDINGS FROM THE QUA
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part of the project (9.3.1). Overal
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expected to score, based on their g
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Table 6.2.3 Summary statistics of a
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Figure 6.2.2.2 CVC students: the di
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Figure 6.2.3.1 Centre School studen
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students scored in the average rang
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perception of disruptive behaviour
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6.3.1 The Beck Self-Concept Invento
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Figure 6.3.3 Difference in groups
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are presented in this section as ba
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hand, CVC students are all settled
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6.5 Findings from the music therapy
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Table 6.5d.ii (in appendix 6.5d) sh
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All nine students felt that at leas
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Table 6.5d.III (in appendix 6.5d) s
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Figure 6.6.2 The change scores from
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6.7 Findings from school attendance
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CHAPTER 7 KEY FINDINGS FROM THE QUA
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Table 7.1 Themes from the predeterm
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Figure 7.2.1 How do you express you
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Daniel said he did “nothing” to
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7.4 Students’ attitudes to school
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given respect, but if the student h
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Figures 7.5.2 and 7.5.3 show a most
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thought about the future after musi
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7.7 Students’ thoughts on music t
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7.7.1 On improvising “Yeah lettin
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went on: “It’s like let the str
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and control, and maybe explains why
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year ten, which directly coincided
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7.7.5 On the impact of music therap
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therapy does, it really does open u
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CHAPTER 8 CASE STUDIES 8.1 Introduc
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way, were able to comment with unde
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He started to be more honest in ses
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John’s results were remarkable fo
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8.6 Case study 5: David David’s s
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CHAPTER 9 DISCUSSION AND CONCLUSION
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7. Positive effects of music therap
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how they raise difficult issues rel
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9.3 Reflections on the method The c
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esults because this was my instinct
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All the students’ responses to th
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feelings of anxiety It is also poss
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Lastly, there is the possibility th
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caution. These young people with an
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9.7 Looking Ahead Collaboration wit
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REFERENCES Aasgaard, T., 2005. Assi
Page 249 and 250:
Baker, F. and Jones, C., 2005. Hold
Page 251 and 252:
Breslow, N., 1981. Odds ratio estim
Page 253 and 254:
Cole, T., 1998. Understanding chall
Page 255 and 256:
DCSF, 2010. Pupil absence in school
Page 257 and 258:
Dowling, E. and Osbourne, E. 1994.
Page 259 and 260:
Fruchard, G. and Lecourt, E., 2003.
Page 261 and 262:
Hallam, S. and MacDonald, R., 2009.
Page 263 and 264:
Ierardi, F. and Jenkins, N., 2012.
Page 265 and 266:
Koshland, L., 2010. PEACE through d
Page 267 and 268:
S.Hadley and G. Yancy, eds. Therape
Page 269 and 270:
Miller, A., 1997. The drama of bein
Page 271 and 272:
Parsons, R., 2009. Teenagers! What
Page 273 and 274:
Bruscia, ed. 1991. Case studies in
Page 275 and 276:
Children and Adolescents. Preventio
Page 277 and 278:
Triangle and Coram, 2011. Music The
Page 279:
Wigram, T., Lumley, J. and Steen, C
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