Newsletter 2006.qxp - Music as Therapy

VOLUME VIII
MUSIC AS THERAPY
Annual Newsletter 2006
Trustees: The Reverend Patsy Kettle, Gerald Bowden TD MA FRICS,
Michael Atkinson CMG, Gerald Orman Esq, Sarah Clarke, Sara Mauleverer
REGISTERED CHARITY NO: 1070760
Welcome to the eighth Music as Therapy Annual Newsletter!
A Note from the Office
I hardly feel I am the right person to be writing this note from the
office, having been out of it for most of the past year while I was
on maternity leave. But I really wanted to take the opportunity to
let you know that I am now back and I have been particularly
interested to read all your reports and learn from all of your
experiences over the past year. You help keep me up to date with
the climate in which you are working and your reports and
activities gave me some new ideas to take back to my own clinical
work, having been on maternity leave from there as well.
I am aware that so much has changed for so many of you and so I was amazed that you have managed to
keep in touch with us and keep going with your music programmes. We now have relationships with local
partners that stretch back as far as 1996, which I think is pretty impressive. Your commitment to us (and ours
to you, I hope!) has also been recognised by an organisation in England that rewards good practice in
charitable organisations. Jane and I were invited to the awards ceremony and were very proud to be presented
with one of their prestigious awards under the ‘International Aid and Development’ category. It was a very
exciting and enjoyable evening and is testimony to everything we ALL have achieved, so you can be very proud
too! Do let us know what we can do to help you keep your music programmes going and I hope to see some
of you at the Additional Training we are offering later in the year (See Page 3 to apply).
Alexia Quin, Director
A Note from the Guest Editor
As a student in 1999 I wanted to find out about music therapy and I came across Music as Therapy. My time
as the assistant in Timisoara gave me the confirmation I needed that this was the career for me. Seven years
on I completed the circle by travelling to Vaslui as one of the therapists leading Project 05. During that time
Music as Therapy has continued to respond to the changing world of music therapy and current reforms in
Romania. This is a difficult time of upheaval for many of you in your workplaces, but hopefully your music
sessions can remain as a ‘constant’ in an uncertain environment. Music as Therapy will continue to support
you in your work, and we look forward to hearing about your progress.
CONTENTS
Project 2006 & Follow Up Visit Page 2
Academic Developments and Additional Training
Opportunity
Page 3
Competition Results Page 4-5
News from Local Partners and Discretionary
Grant Scheme
Page 6-7
Theory Corner Page 9
Developments Page 10
Questions for the Newsletter Page 11-15
Volunteer Updates Page 16-18
As the guest editor in this edition of the newsletter
I’ve enjoyed reading all your reports and look forward
to the coming year of developments.
With love,
Becca Sayers (Music Therapist, Project 2005)
1

Project 2006
We are delighted to announce that the 2006 beneficiary of our Introductory Training Project will be a joint
partnership between an NGO day Centre, ‘Casa Luminii’ and a State-run ‘Complexul de Servicii Comunitare
pentru Copilul cu Handicap Server’ in Sibiu, Central Romania.
Music as Therapy received an application in 2002 from ‘Casa
Luminii’, for staff working with children with mental and physical
disabilities aged between 4 and 16 years old. Since then, they have
set up a new initiative with the local public authorities and are
working together to run a complex of community services for a
children with severe disabilities. Only 3 of the children are verbal
and all the children have high dependency needs – both physically
and emotionally. This joint partnership is an example of one of the
positive ways in which the authorities are tackling the continuing
problems in the Romania’s Care System and is one of the first of its
kind in the country. The team feels that music therapy would
“...open new ways of communication, especially for the non-verbal
children and those with autism”. Music therapist Melanie Wells and
her assistant Kylie Richardson are really looking forward to working
together with both teams and introducing music into the lives of the
children there.
Follow up visit
Music therapist Emily Cawdron will return to the Scoala pentru Surzi, Vaslui, in June to deliver the Follow-up
Visit with the help of Helen Arthur (Assistant Project 2003: Botosani). Over the years these follow-up visits
have proved crucial in helping to sustain the music
programme and provide an opportunity for local partners to
consolidate their initial training, to share their successes
and to seek advice with problems they inevitably encounter
when they first begin running music sessions unsupported.
Emily and Helen will spend one week observing sessions
and supporting the teams in Vaslui. They are both really
looking forward to the visit, as are the members of staff at
the School. At the end of the six-week introductory training
project, one of the teachers wrote “We thank you for your
patience and trust you have extended towards the teachers
and children at the School and also for the encouragement
and availability to answer our questions. It has been a
pleasure working with you and we await your return”.
Teacher Rodica Cain, wrote “ Using music in a therapeutic way improves their [the children’s] attention,
thinking, non-verbal vocalization. They can feel the music through rhythm and vibrations. Music therapy helped
in changing the student’s behaviour: the shy children proved a little bit more self confident, the agitated ones
calmed down, became more disciplined and very attentive. Every single child has been included in these
activities”.
Changes in the office
Alexia Quin, Director of Music as Therapy has returned to work after taking maternity leave to look after her
beautiful daughter Beatrice. Elizabeth Hotham, our Administrator in 2005, has moved out of London to marry
her fiancé, Hugo. Congratulations to you both! Finally, we welcome Ramona Blaga, whose brilliant translation
skills have helped create this newsletter and enabled communication to remain open with all our Romanian
Partners. Thank you!
2

Academic Developments
Music as Therapy is continuing to liaise with the Director, Romeo Popa, from the Friedrich Muller College in
Sibiu. We are currently looking through the curriculum to see if we can offer any musical input in the future.
The course offers a joint process of intensive learning and vocational implementation and covers a wide range
of modules including the use of arts in a therapeutic context for people with disabilities.
For more information contact Romeo Popa at Scoala Postliceala,
Friedrich Muller, Strada Pedagogilor nr.3, Sibu 2400. Tel: 0040269
222809. E-mail: pdr.sb@rdslink.ro
ANNOUNCEMENT!
We would love to hear from you if you have been
accessing a similar course elsewhere in Romania.
Additional Training Opportunity
We are pleased to announce an opportunity for our existing partners to acquire some
new skills to help keep your music programmes running and further enhance the
great work that you are already doing. It will be run by experienced members of the
Music as Therapy Advisory Panel of Music Therapists Sarah Hadley and Kathryn
Williams, who you may have met in previous years. It will also be an opportunity to network with other people
using music with people with special needs around Romania.
The Additional Training this year will cover two areas:
MUSIC SKILLS: Our Introductory Training projects are very much a whirlwind six weeks that
can only cover the basic principles of music as therapy. What we want to offer you now is
the chance to develop your musical skills, to discover new musical techniques to add to your
repertoire and to explore new and more advanced ways of using the musical instruments and
your voices in music sessions.
PRESENTATION SKILLS: With changes among the
Directors and management of care settings all around
Romania, as well as the local authorities responsible, it is
becoming important for our local workers to be able to
explain the work they are doing with music, both practically
and in terms of the benefits it affords the children or adults
in their care. Effective communication about one’s work can
also help encourage others to support the music
programme or even attract potential funders. It is a skill to
be able to communicate clearly about the therapeutic
process and the progress made within music sessions and
this part of our training will leave you more confident to do
this.
Practicalities: The Additional Training will take place in Bistrita from 17 th -20 th September 2006. The costs
for training attendance and accommodation will be funded by Music as Therapy, but we are asking that
participants pay for their own travel where possible. If there are difficulties covering this cost, we will
endeavour to help, subject to funding and demand.
To apply for the training, please complete the enclosed application form and indicate if you would like to
apply to Music as Therapy for partial or full funding.
PLEASE NOTE: This is NOT an introductory course, but an opportunity for those with established music
programmes to develop their skills further. We expect all participants to have a proven track record of exploring
ways of running music sessions for more than one year. There is a limit to the number of places available and
applications will be considered alongside the Annual Reports you send to us each year.
We are grateful to Scoala Speciala Nr. 1, Bistrita,
for their assistance in organising this event.
3

The Scenario
Anna-Maria is a ten year old girl with autistic features and extreme hyperactivity. She has been having
individual music sessions with you for six weeks. She often engages in singing the ‘hello’ song with you at
the beginning of the session but for the remainder she runs excitedly around the room. You have, at times,
brought her back to sit with you in the area where the musical instruments are set out, resulting in some
shared musical activities, but she quickly loses interest and reverts to running around the room once more.
How might you try to engage Anna-Maria in more sustained musical activity?
WINNING ENTRY:
Competition Results
Thank you to all those who entered the competition earlier on this year. We had an excellent response and
received many entries in response to the two given scenarios. All entries were judged by the Music as Therapy
Advisory Panel and the winners can be seen below.
Competition Winners!
1st Prize - Monica Szabo from Scoala Ajutatoare Nr.1, Oradea
2nd Prize - Corina Bumbu & Viorica Cretu from Scoala Speciala
Nr.1, Bistrita
3rd Prize - Olympia Marc from Scoala Ajutatoare Nr.1, Oradea
There were no right or wrong answers to the scenarios but the judges were looking for an understanding of the
client’s needs and the thought process behind how the session was led. All music therapists approach their
work differently and to demonstrate this, we asked our Guest Editor, Becca Sayers to write and tell us how she
would respond to the scenario, as well as presenting Monica Szabo’s winning entry below.
Monica Szabo wrote: “I’ve met children like Ana-maria while working with children from normal schools in
Oradea. I would recommend music therapy especially for these children with autism or hyperactivity – children
who seem to be in a continuous search for their interior and exterior world.
As Ana-maria participates to the ‘hello song’, it probably
means that I’ve managed to establish a sort of a rapport,
and to communicate with her in a musical world.
Sometimes Ana-maria gets very anxious and she is
tempted to run away. I wait for a few moments for her to
calm down (I try to emphasize this with a musical
instrument like the xylophone), then I manage to get her
attention again and prove to her that I understand her
fears but that, with a little bit of courage, we can get over
them and communicate. In this situation, as a therapist I
always feel under pressure, trying to keep a perfect
balance between giving her personal freedom and
establishing the necessary limits.
During the sessions, I try to notice when she actually participates to the music activities or when she explores
something completely different or even runs away. I sometimes manage to see where she goes, what she does
and what she is interested in. Is she losing contact with me or is it a game she challenges me with? I keep
focused on the music therapy aims. Do I want her to concentrate for longer period of time? Or should I focus
on expressing her emotions, respecting the limits or listening to others?
4

What would happen if I scatter musical instruments all over the room and for each game, we will have to go
together and pick up the instrument? Moreover, I could sometimes let her go ahead; I follow her but I give her
time only for herself.
Then, we play games like: “Imitate the rhythm” or “The Conductor”, and I try to be more strict with the rules and
limits. I alternate and combine activities that imply rules and concentration with more relaxed activities when
she can speak or run around. I incorporate surprises that draw attention and allow her to establish a good
report, express her emotions but still keep necessary rules for harmony.
Would it be a good idea to include her in a group of children? We could play together games like the ‘Dance
and Stop at signal’ or ‘Let’s find the doll’ – the children are placed around the room and play an instrument and
the one who’s closest to the doll has to play the loudest; or we sing holding our hands and we swing together.
We could also cover one child’s eyes and pass a maracas for hand to hand without making any noise. I’ve seen
children like Ana-maria happily getting involved in this sort of activities.
Towards the end of her music sessions I would invite her parents and her schoolteacher to play with us just to
give Ana-maria the chance to enjoy playing in a group after she’s going to stop her music session.”
Becca Sayers:
Becca wrote “I set up the room with some small handheld
percussion instruments on a side table. In the
centre of the room is a free standing drum and
cymbal, and at the other side is a floor drum.
Ana-Maria responds with enthusiasm to the hello
song, so I wonder if she finds it easier to engage with
something that she is familiar with. I decide that
within the session I will introduce several song
structures that she can get to know, and we can
develop these together.
After the hello song I begin a song called ‘Ana-Maria’s
music song’ with an upbeat tempo as she is running
around the room. I sing a chorus and then offer the
question ‘What does Ana-Maria want to play’? She
looks up at me in the silence after my question, and
then continues to run. I sing ‘Ana-Maria wants to run’,
and play my drum in time to her feet pacing the room.
I then return to the chorus. Next time I ask the
question she happens to be standing next to the
cymbal and her hand brushes past it. Is this
accidental? I don’t know, but I decide to go with it and
sing the next verse in a slow, whispery voice ‘Ana-
Maria plays the cymbal and it sounds like this’. She
grazes her hand over it several more times before
running off. We continue this song for several
choruses and verses. Sometimes Anna-Maria
touches an instrument and at other times she moves
around the room so I use whatever she is doing at that
time in my verse.
I then pause to see how Ana-Maria reacts to the finish
of the song. She looks round at me then wanders a
little aimlessly round the room. I take the ocean drum
and stand up opposite her. As she takes a step so do
I, following her in a large circle. She takes a few
steps, then stops and looks at me. I change direction
and walk towards her. As we meet I hold out the
ocean drum to her and she takes hold of it and gives
it a gentle shake before moving on past me. I
continue to walk in this direction, singing softly as I
move.
Each time we pass each other I offer her the drum and
she makes a sound before moving on. These drum
interludes get longer and I take a bit more of a role:
keeping hold of it myself and moving it or playing it
with my hand in response to what she does.
Ana-Maria moves to the table and stands looking at
the instruments. She gently touches one, then
another and I sit down a little distance from her
playing a gentle, repetitive motif on the xylophone. I
sing without words as she makes sounds with the
instruments and occasionally she looks up at me.
It’s time to finish so we quietly sing our goodbye song
before Ana-Maria suddenly bounds out of the room!
5

Reforms in Constanta
News from Local Partners
We received a disturbing fax in July last year from the
Centru de Recuperare Neuropsihiatrica, Techirghiol,
appealing for our help. Many of our local partners’ jobs
were under threat due to changes proposed for the adult
psychiatric hospital CRRNP. We were told that the local
authorities wanted to cut eight out of the ten therapists’
jobs. Music as Therapy wrote to the local authorities
expressing our concern as to what impact this would
have on the emotional needs of the clients and asked
that they recognise and value the skills of local partners.
Although only 2 therapists remain in post in Techirghiol,
we were heartened to learn that some of the staff have
been transferred to other care settings in Constanta,
instead of losing their jobs entirely. One of the care settings is the Complex de Servicii Comunitare ‘Cristina’,
which received a Music as Therapy project in 1998. Aura Filip was transferred there and wrote to tell us how
she used music to help her form relationships with the children there. “I would like to express my gratitude once
again, for the wonderful opportunity I had to learn about techniques in using the percussion instruments and
the techniques that helped me establish working relationships with the children and the staff at C.S.C. ‘Cristina’.
Only after a few sessions of music therapy, the children accepted me and we got to know and trust each other.
The children love to play the instruments and the therapy helps us aim towards achieving the goals we set for
each individual or for the group itself.”
Closure of Negru Voda
The institution and neighbouring Therapy Centre in Negru Voda – which have been supported by Fundatia
pentru o Viata mai Buna (FVB) for many years - is due to close in Spring 2006. The residents will be transferred
to the new pilot centre in Techirghiol, along with the all the equipment including their musical instruments. It is
hoped that some of the therapy staff may have the opportunity to be transferred there too, so that they may
continue their excellent work with the clients. Please contact Alina Dobrescu at alina@fvb.ro for more
information.
Training at Negru Voda
Whilst one area of their work is coming to an end, FVB are still very active in the area. They are currently
undergoing the accreditation process to become a provider of professional development programmes for
employees working in care for people with disabilities. For a period of three months, FVB will train a series of
specialists both at DASPC Constanta and The Pilot Centre from Techirghiol in skills orientated towards
ensuring the development of their client’s qualities of life: The staff from FVB will attend the courses as well.
Please contact Alina Dobrescu at alina@fvb.ro for more information.
IMPART training
The Impart team (part of Fundatia de Sprijin Comunitas in Bacau) organized a course in Codlea, Brasov for 40
people for people with “Rafel” disabilities. A total of 40 people attended, some of whom were employees, or
parents of children with Rafel disabilities. IMPART described how they used music to help stimulate and
develop those with the disability. Another course was organized at the “Daniel” Centre, in Bacau where
employees and parents also attended. For more information or to access IMPART training please contact
Cornelia Petcu at impart@fsc.ro
6

News from Local Partners (Cont’d)
The wider applications of music
Monica Szabo from the Special School No.1 Oradea wrote and
told us how she had used music and its many applications for her
‘grade paper’. Monica formed groups of children with learning
difficulties or behavioral problems but who were integrated in
normal school. She contacted the schools and the head teachers
who welcomed her initiative to get the children involved in music
and story therapy. From October to January she formed 4 groups
with the children and held music sessions once a month. After 12
sessions, she invited the parents in and presented the musical
story made by the children. The children created the story, chose
the instruments and then performed it. As a surprise, Monica
invited a person from the Philharmonics to play the guitar. She
said “I found it very fascinating to see how music is capable of
slowing down hyperactive children and stimulating the shy ones.
I was surprised to see how motivated they were when they
presented the musical story. I noticed that their music expresses
itself when they pay attention to themselves, to me and their
colleagues.” (Szabo Monica –The Special School No.1 Oradea)
Discretionary Grant Scheme 2006
In our last issue of this Newsletter, we announced the launch of a Discretionary Grant
Scheme which we hoped would support those of you who change your places of work
in transferring the skills and experience you have learned from your initial Music as Therapy training and
the music programme you have continued to run. We really want to make sure that anyone who has
received training from us and who wants to be running a music programme is able to do so wherever they
are working.
Since its launch we have had a number of enquiries from people who hope to take advantage of
this scheme. How about you?
If you have changed jobs or know that you will be moving to work in a new care setting, we want to give
you the musical instruments, training and support to enable you to start a music programme in your new
place of work.
Applying for a Discretionary Grant: If you wish to apply for a Discretionary Grant the first step is to write
to us and tell us where you received your initial Music as Therapy training (i.e. which care setting) and a
little bit of information about where you are currently working (i.e. name of the care setting and contact
details, information about your clients). You should also ask your Director if they will support your plans to
set up a music programme as grants can only be awarded with this management support in place.
So send us an e-mail to alexiaquin@musicastherapy.org or write to us at the office address: Music as
Therapy, The Co-op Centre, 11 Mowll Street, London, SW9 6BG. We look forward to hearing from you!
7
Update

NEW
ACTIVITIES!
Express what you feel
Hunt the instruments
Musical dialogue
Encouraging focus
NEW
ACTIVITIES!
We write a sentence on the whiteboard, we read and explain it (to ensure
they’ve understood it) and then everyone tries to express what’s written
by playing their instruments. A poem or a story that children already know
could be another alternative. We usually focus on rhythm, accent, and
speech intensity. E.g. “Vine, vine primavara…” (Here comes the
spring…)
(Paduraru Loredana, Scoala pentru Surzi, Vaslui)
Last time I met with my clients, I pretended I’d lost the
instruments and couldn’t find them. Both of them
searched everywhere and when they finally found the box
they were very, very happy.
(Seian Seitamet, CRRN Techirghiol)
One of the exercises requires me to sit in front of him, holding the drum and
play only when he watches me. Slowly, he understood the rule of the game:
I play the instrument if he watches me. Because he likes it, he was
stimulated to pay more attention.
(Jako Eniko – Special School Nr.1, Oradea)
The youngsters are encouraged to choose an instrument. Then, they are asked to work in pairs. Every
pair will sit face to face on the chairs and will carry out a dialogue with the instruments. It’s very
important that what they want to transmit to be accompanied by adequate gestures and facial
expression and to permanently maintain the visual contact. At the end, we will
verbally decipher what they wanted to say. It is verified if the youngsters understood
each other and if the message had been transmitted correctly. The activity can be
carried out also with the partners sitting back to back, without visual contact,
intensifying in this way the musical communication.
(Ramona Gavrila, Centru de Zi ‘Sf. Maria’, Cluj)
8
Music and Numbers
NEW
ACTIVITIES!
I show [the children] a number and they
have to bang the instrument as many
times as the number says; we divide the
words in syllables with drum/xylophone
beats).
(Ceaciru Doina,
Scoala pentru
Surzi, Vaslui)

Theory Corner
The Music as Therapy Advisory Panel have read your reports and discussed in meetings the huge upheaval
and difficulties you all face as a result of the current reforms. They understand the challenges presented when
working with new client groups, staff losses and closure of work places, and appreciate that this is an extremely
difficult environment in which to work. Many of you have received minimum support from people in authority
and it is a struggle to educate others about the value of the work you are doing. In the UK there are many
issues that we as music therapists find challenging. We too find that we often have to fight against a lack of
understanding from employers or carers, and music therapy is often seen by those in authority as a lower
priority than other therapeutic interventions. Several members of the Music as Therapy Advisory Panel have
written about their own experiences and ways in which you can be more supported in your attempts to develop
music therapy in Romania.
Tiffany Hughes (Music Therapist, Project 2000) says: ‘It seems that many of you are experiencing different
challenges in carrying out your music sessions at the moment. This must be frustrating and difficult for you but
hang in there because the work you are doing is really important at a time of so many changes. Music will help
your clients to express their feelings about the changes in their situations that might be difficult to express in
words. It will also help give some sense of continuity at a time of change which will help your clients feel safe
and valued. Music is also very powerful for memory and can help with expressions of sadness and loss where
people have been separated from friends or family, for example. It is also important for bringing people together
where they are adapting to new environments.’
Ellie Watts (Music Therapist, Project 2001) also encourages you to continue to believe in the power of the
music sessions that you are running: ‘The loss of music therapy services doesn’t reflect upon you as a
therapist or your ability. Rather it reflects upon the understanding of this discipline by those on the outside of
it. The education of your colleagues and superiors about the discipline of music therapy and the sharing of
your successes is a vital part of your on-going role in sustaining a programme. In order to do this effectively
you need to understand and practice how to speak and articulate clearly about the profession of music therapy
and keep up to date with research and new applications. Have you ever thought about doing a presentation to
your colleagues about your work? Promoting the concept of music therapy as a unique and highly effective
therapeutic input that still remains within the pioneering phases in Romania may help your supervisors to hold
onto this service in order to gain recognition for such historical participation. Music therapy will not die out in
Romania though service provision may change (in fact if Romania is to follow the pattern of other countries
then post-transition music therapy will only grow in strength and validity), therefore I would encourage you to
hold on this longer term perspective or vision. Should you find yourself in the position of no longer being able
to deliver music sessions then do take heart in knowing that your training and experience can not be undone
or taken away from you and that you can always apply aspects of this directly or indirectly in a variety of ways
to the people you will continue to work with.’
Clare Sargent (Music Therapist, Project 1998) agrees that the main way in which you can gain support for your
work is to convince those in authority that music is a valuable intervention. Anne Vernon admits how hard it
is to stay enthused and passionate yourself about your work, especially when it seems not to be appreciated.
She suggests that an effective way of raising moral is to introduce your ideas to others, perhaps new staff
teams. She says that this makes her more enthusiastic and effective in her work, and reminds her of her
motivation for music therapy. Tiffany also advocates talking to other colleagues who are facing the same
challenges. She suggests ‘How about arranging an area meeting so that you can learn about how others are
coping with such changes? If you are now working with different clients to those you were working with when
you had Music as Therapy training you might find others, who have experience of your new client group can
help with ideas. Their experiences might also help persuade staff in your setting about the value of using music
with your new clients. Perhaps you can pass on your music as therapy skills to new staff you are working with
so that you do not have to work alone’. Filip Aurelia from C.S.C Cristina, Constanta began working in a new
setting and she describes how she introduced her Music as Therapy skills: ‘Not all my colleagues had been
trained in music therapy so I had to initiate them in using the instruments. They were very receptive and they
learnt how to work practically, especially when they were familiar with the theoretical aspect. I have to say that
without their help, I couldn’t have achieved these [successful results].’
Becca Sayers writes, ‘In the North West of England where I work there is a very small number of music
therapists and we find that regular meetings to discuss ideas and share common experiences are invaluable.
Music therapy is a new and innovative intervention and we really need to support each other in order to
progress and find satisfaction in our work. Congratulations to you all for continuing to run your music sessions
in this difficult time and good luck for the future!’
9

“During the [music] sessions, the children became
happier, more talkative and were able to vocalize
better. The important aspect is that music therapy is
one of the few classes where children don’t get
penalised when they get things wrong. After these
music therapy sessions, I believe that these children
with hearing problems communicate better, the group
seems more united. They’ve learned how to be more
patient and pay more attention.” (Paduraru Loredana,
Scoala pentru Surzi, Vaslui)
“The progress can be noticed in the area of selfconfidence
but also an improvement of their ability to
concentrate (the length of the session was put up from
30 minutes to 45-50 minutes) and also improvement
in expressing themselves emotionally was noticed.
This progress was noticed both at the end of every
session and also during the other activities organized
within the Centre.” (Ramona Gavrila, Centru de Zi ‘Sf.
Maria’, Cluj)
“I’ve had a few achievements even with the hyperactive
girl meaning that she learnt to wait for her turn,
to listen to her colleagues, and to get involved in a
disciplined way all the way through the session.”
(Lavinia Gorgan, Scoala Speciala Nr. 1, Oradea)
“Even if it didn’t happen straight from the beginning, I
am sure that music therapy brought us together and
one day, when I got to school, she came to me and
said my name: “Corina”. For me, it is a big step
because Alexandra doesn’t use many words.”
(Corina Bumbu, Scoala Speciala Nr. 1, Bistrita)
“After one year of music therapy, the results speak for
themselves. They are all very happy when time
comes for the music session, pay more attention,
know how to use the instrument, express themselves
more easily, they are more patient, and less
aggressive. Us, the instructors, get to know the
children better, we know how they are going to react
and what we have to accept, where and who to pay
Developments
Along with the many challenges faced by our Romanian partners last year, there were many developments.
Below are some highlights we’d like to share with you taken from reports written by our local partners.
more attention to. Knowing the fact that music affects
directly and very strongly the psychological side of us,
it makes us more emotional, calms us down, delights
us and transforms the negative feelings of sadness,
panic, and fear.” (Zina Costin, Pentru Voi, Timisoara)
“As a result of these musical activities, I notice that the
children have improved their behaviour in the group,
not only during the sessions but even in their class:
their mood has improved, they pay more attention,
they are more confident with themselves, more open
to themselves and to others.” (Teodora Popescu,
Scoala Speciala Nr. 1, Bistrita)
“I would like to express my gratitude once again, for
the wonderful opportunity I had to learn about
techniques in using the percussion instruments,
techniques that helped me establish working
relationships with the children and the staff at C.S.C.
Cristina. Only after a few sessions of music therapy,
the children accepted me and we got to know and
trust each other.” (Filip Aurelia, CSC, Constanta)
“I am happy to say that I started to notice progress in
all the children attending the music therapy sessions;
the group relationship and their spiritual mood are
much better. The children have learnt to respect each
other in the group and they are open to new
experiences when offered by the tutors.” (Navligu
Mirela, Centru de Atr-Terapie, Timisoara)
10

Addressing Issues and Answering Questions
Some of the children I work with are choosing not
to come to sessions or are prevented from
attending by outside influences. What can I do?
Ellie Watts sympathises that this is very frustrating.
She says “In such instances I would encourage you to
sensitively educate your colleagues and care staff
about the benefits of attendance at therapeutic music
sessions for clients and continue to stress that the
process (i.e. regular attendance from session to
session) is really vital in order for the full potential of
benefits to be seen and sustained.” Alexia Quin
agrees and suggests that perhaps you should offer
staff the chance to observe a session. She reminds
us: “After all, people can only value and then support
the music programme if they understand what it is for
and why it is important for the children.” Clare
Sargent encourages you to believe in the power of
the music sessions you are running and to “fight for it
to have importance in your weekly life.” Szabo
Monica (Scoala Speciala Nr.1, Oradea) recognises
the value of having parents’ support for music
sessions: “The good thing is that their parents wait for
them during the sessions and they get to share their
ideas and common problems.”
Abi Gill suggests that if a child is refusing to attend
sessions there could be several reasons and ways of
dealing with this issue. “Sometimes children and
young people delay sessions or want to leave
because they are finding what happens in the
sessions difficult. This is not always a reason to stop
the sessions, but it can be an opportunity to work
together at that issue.” She wonders if the time of the
session may have some influence on the client’s
willingness to attend, and if changing the time might
make some difference. Anne Vernon has
experienced a child refusing to attend after an
unexpected break and says “Perhaps she wanted me
to experience what it was like to have a session
cancelled? It reminded me once again how important
it is to have regular predictable sessions with planned
breaks.” She has also found that if someone
consistently refuses to attend it is a good idea to give
them the choice of coming each week, telling them
that you will be in the room if they decide to attend.
Abi says “Sometimes, being able to choose not to
come to a session is very important for a person who
does not get many other choices in their life.” Clare
Sargent agrees that “empowering the clients to
decide what it is they want from their music time” is an
important way of encouraging them to attend.
Ellie Watts reveals another reason why clients could
be resisting: “Often I have found when working with
institutionalised clients a resistance on their behalf to
attend sessions which is based more upon depressive
issues or low self esteem and / or low motivational
levels. In such cases encouraging the client to
actually attend has been vital in initialising change
and development within a client.”
However, as several members of the Advisory Panel
admit, sometimes a client is genuinely telling you that
they don’t wish to continue sessions and so you
should work out a time to finish and make sure that
they are aware of how many sessions they have
remaining.
Several of my clients refuse to participate within
the music session. Have you any ideas as to why
this might be? Have you any suggestions as to
how I may encourage them to become involved?
Several therapists have had experiences like
Leustean Dorina (School for the Deaf, Vaslui) where,
she says, “…he didn’t really want to play the
instruments. I didn’t force him to get involved, he just
assisted, he noticed the other children enjoying
themselves and, at some point, he sat down on the
chair and got involved.” Clare Sargent and Ellie
Watts agree that giving the child their own space to
get involved as they feel able is very important. Ellie
also reminds you to watch for even tiny signs that the
client is interested or participating, as actually
attending sessions is a huge step for some clients and
their participation may be passive. Ana Maria
Codreanu (Scoala pentru Suzi, Vaslui) describes how
this has happened in some of her sessions: “When a
child refuses to participate, it’s pretty difficult to
determine and change his or her mind; he or she
comes back for a period of time but does not
participate actively; sits aside and from time to time
plays one instrument. This is his or her way of
11

Addressing Issues and Answering Questions (Cont’d)
participating; but noticing his or her facial expression
and body language someone could notice that the
child enjoys assisting but he/she might not be ready or
in the mood to get involved.”
Ana Toader (Pentru Voi, Timisoara) finds that using
the ideas and reactions of the client as a starting point
is very beneficial in encouraging them to take part.
Rebecca Sayers and Anne Vernon agree that this is
important and suggests that sometimes a reason
behind refusing to participate may be that the client
feels the need to be in control. With time and
encouragement they may begin to feel that within the
session they can have some control over themselves
and what they do. Eugenia Costache and Susana
(Scoala Speciala Nr.1, Bistrita) have also found that
some clients need time and space to become familiar
with instruments and sessions before they can begin
to play.
What can I do if my client is having a ‘bad day’ and
is being disruptive in the sessions?
Ramona Gavrila (Sf.Maria, Cluj) has experienced
working with a number of children who are disruptive.
She has found that including them in a well balanced
group has helped: “… some of the members being
dynamic, with initiative, the others more reserved in
expressing themselves. In this way, they influence
each other and the level of activism gets more
balanced.” Vera Chibulcutean (Scoala Speciala
Nr.1, Bistrita) works with children who have serious
behaviour problems and has found that she can keep
them interested and active by introducing something
new every session. Zina Costin (Pentru Voi,
Timisoara) finds that sitting very close together in a
circle is a good way to prevent group members from
becoming disruptive.
Clare Sargent suggests that you can acknowledge
that they are having a bad day, either verbally or
through music. She says that sometimes it might be
necessary to take the client out of the session, but
mentions that you should think carefully. “Perhaps
they are trying to express something to you and they
are doing this through their behaviour. Try and
channel this energy into playing the instruments.”
Ellie Watts adds that sometimes giving the client
space or time out is actually most therapeutic for that
day.
ACTIVITY!
Following a theme
We follow a theme for a few
days (a story, a natural
phenomenon, animals,
situations, attitudes, etc), but
according to their emotional
mood in the morning, we
improvise another theme.
(Zina Costin, Pentru Voi)
How can I encourage my client to focus more fully
in a session?
Felicia Unguru (ADOR, Oradea) has found this a
problem and describes: “At the beginning, she used to
be sad, wasn’t paying attention to what was going on
in the group and when she was supposed to use the
instrument she used to get quite reticent. After a few
sessions, I noticed she likes very much the sound the
xylophone makes. She pays more attention to it and
doesn’t look through the window or look for something
else to do.”
Jako Eniko (Scoala Ajutatoare Nr.1, Oradea) has
also found that choosing one instrument that the client
relates to is a way to help them focus in sessions.
She says “I also work with a child with attention deficit.
One of the exercises requires me to sit in front of him,
holding the drum and play at only when he is watching
me. Slowly, he understood the rule of the game: I play
the instrument if he watches me. Because he likes it,
he was stimulated to pay more attention.” Ana Maria
Codreanu (Scoala pentru Surzi, Vaslui) suggests that
lack of focus may be due to boredom, and she finds
that it is useful to introduce new elements to the
sessions, preferably when initiated by the children.
Clare Sargent agrees that lack of interest might
cause clients to be lacking in focus and she wonders
if activities are gauged at the right level for the client’s
age group. Filip Aurelia (C.S.C. Cristina, Constanta)
works with a child who is easily distracted and has
found that working with an extra instructor helps.
Cornelia Apostol (Scoala Speciala Nr.1, Bistrita) has
found that using just a few instruments and her voice
has helped to enable one client to make music with
her.
Alexia Quin encourages you to think about why the
client might be finding it difficult to focus. Are there
outside distractions that covering windows or furniture
might diminish? She says that too much choice might
make concentration difficult, and that sometimes it is
better to have a short session and to increase over
time as the client’s capacity to concentrate grows.
Ellie Watts ends by reminding us that sometimes a
client may be wandering round the room without eye
contact but there are moments of musical connection,
so focus and attention may not be immediately
obvious.
12

Addressing Issues and Answering Questions (Cont’d)
One member of my group dominates the others by
playing loudly or ‘acting out’. How can I prevent
them from taking so much of my attention every
week?
Viorica Cretu (Scoala Speciala Nr.1, Bistrita) has
managed to encourage one member of her group to
be less disruptive. She describes: “He hits chaotically
everywhere and the sounds it makes do not disturb
him. He insists like this for many minutes, I try to
determine him to play it nicely, with the reason: “Now
listen to your sound” to make him feel the xylophone
better.” Teodora Popescu (Scoala Speciala Nr.1,
Bistrita) suggests using activities where dominant
children can be the leader, and Ramona Gavrila
(Sf.Maria, Cluj) has found that a difficult group of hers
has become very involved by forming a ‘rock group’
where they play guitars to the music of a well known
rock band. Buricea Claudia (Scoala Speciala Nr.1,
Bistrita) has found that an activity called ‘all together’
encourages each member of the group to be actively
involved. She describes: “I use this exercise more
often during one session and it works. At the end of
the session, we put the instruments back on the shelf,
one by one, then we greet and the children wait by the
door until every one has finished.” Filip Aurelia,
(C.S.C. Cristina) and Sorina Niculae (Pentru Voi,
Timisoara) both say that it takes time for a disruptive
group member to become used to sessions and able
to wait for their turn.
Alexia Quin and Cathy Rowland suggest including
activities where the dominant member of the group is
able to have a constructive way to be dominant. This
could be giving the whole group an opportunity to play
extremely loudly. You can then get them to contrast
this with some quiet playing on different instruments.
Alexia describes how this happened in her own work:
“These activities helped the disruptive boy to become
more aware of the impact his behaviour had on other
people and gave him a channel for his urge to
dominate.” Many members of the advisory panel say
that it’s important to think about why the child is being
disruptive. What attracts them about playing loudly or
chaotically? Cathy Rowland asks “Does he or she
have a very short attention span or get frustrated
because they can’t play when they want to? If so
would it be appropriate to build into the session
activities which require very little waiting before they
get their turn, (such as passing a tambourine round
very quickly and randomly to ensure the group’s
attention).” Clare Sargent says that if a child
continues to behave inappropriately you can tell them
that they need to leave the group. Make sure that
they know exactly why they are being removed, and
that they have at least two or three warnings.
Many of the instruments have been broken in the
sessions. How can I encourage my clients to
respect them?
Sein Seitamet (CRRN, Techirghiol) has found this a
problem. She says: “It was really difficult because
they were trying to hide or destroy the instruments.
Accordingly, at the moment we work only with one
instrument and they’ve already learned to exchange it
in between them. Every activity is achieved by
imitation.” Olimpia Marc (Scoala Ajutatoare Nr.1,
Oradea) describes one of her groups of children who
have behavioral problems “they started hitting the
instruments until they understood that if they destroy
them, they wouldn’t be able to play them again.”
Tiffany Hughes says “I generally have two rules in
my music therapy sessions in London – we don’t hurt
each other and we don’t hurt the instruments.” She
suggests that a good way to encourage respect for
the instruments is to get individuals in the group to
take responsibility for a particular instrument.
Perhaps they could also be involved in fixing
instruments if they get broken. Ellie Watts explains
that “...it can be really hard for a client within
institutional care to understand respect for objects
when they quite often have never had the experience
of personally owning anything in order to gain this
understanding.” Alexia Quin says that if she feels a
client is persistently trying to break an instrument she
explains that she needs to take it away to keep it safe.
This might be putting it in a cupboard or even taking it
out of the room. She cautions: “If you set out these
kind of rules, you MUST see them through and
remove any instrument that is in danger of being
damaged, even if you end up with no instruments left!
Your clients might well test you to see if you mean it –
maybe this is a way for them to see if you can keep
them safe.”
13
ACTIVITY!
Music and movement
The children associate this game with what musical
bands they see on TV do and are very motivated to
imitate them. The benefits are
remarkable even from a locomotion
point of view. The children try and
manage to co-ordinate their body
moves with the rhythm of instruments.
(Elvira Lefter, Vaslui)

I am trying to keep my sessions varied so that
they will remain interesting. I would like to use
more role-play and movement but am unsure how
to. Have you any suggestions?
Ana Maria Codreanu (Scoala pentru Surzi, Vaslui)
has noticed that movement is an important factor in
her sessions. “Slowly, slowly we managed to create
real improvisations; some of them just spontaneous,
other through imitation, they are aware and use body
language through dance movements.” Ramona
Gavrila (Sf.Maria, Cluj) has also found that an area
needing development is expression of emotions, and
that movement can work alongside music to do this.
“We worked a lot to help them better express their
emotions, mimics and gestures, an area that is less
developed in most of the youngsters.”
Clare Sargent suggests using stories relevant to the
client and encouraging them to share ideas with you.
“See where it takes you” she advises. Rebecca
Sayers says that ‘you could build up an improvised
story by assigning instruments to different characters
or events. As the group leader you can create as
much structure as is needed, with words or
instruments, or let the clients totally lead the journey’.
Ellie Watts suggests that you think carefully about
why you want to make sessions more varied.
“Remember when you are evaluating this question
that your clients will be processing at a very different
level to yourself and what may feel boring to you may
not be to them.”
ACTIVITY!
The Postman
I introduced a new musical conversation game
called “the postman”. The children receive from me,
the “postman” an envelope in
which they find a photo of the
person they are going to sing
with (e.g. ‘Radu’ plays the
xylophone). They show the photo
to the partner and they play
together. Then, another chosen
“postman” can change envelopes, as he or she
prefers. In this way, I think I challenged them to
interact more. The children are happy to see the
photo and, without words, they go towards the
instrument and play together.
(Teodora Popescu, Bistrita)
I am currently working with a child who has issues
with attachment. How can music therapy help
them?
All of the members of the Advisory Panel agree that
consistency is a key issue when working with a child
who has issues with attachment. This begins with
being very clear that you are a reliable person for the
client to trust. Alexia Quin says “If you start making
a commitment to your relationship together, the child
may do so too. If you are going on holiday, let the
child know in advance. If you are ill and miss a
session, acknowledge this when you next meet, if you
can’t get a message to him/her at the time. If his/her
music sessions need to come to an end you must
prepare for this ending carefully together with the aim
of avoiding it feeling like another abandonment to the
child. Think ahead and count down together the last
five sessions you will have together. Maybe draw a
chart so he/she can see clearly these five sessions
reducing to one and then your final goodbye.”
Of huge importance is building trust in the relationship
between you and your client. Tiffany Hughes says
“You need to be able to tolerate the times when they
try to push you away or reject you – don’t take it
personally!” Alexia adds “Your clients have a lifetime
of people rejecting them.” Tiffany continues: “It might
help to think about your music making as a
conversation, so that the child feels that someone is
listening to them and responding. This will help to
make them feel valued and respected. You might
need to start developing your relationship by simply
being beside them and playing a similar instrument, or
sharing their instrument.” Clare Sargent explains
how music can be an ideal way to build a relationship
with someone with attachment problems: “You have
the potential to create a relationship which is based on
spontaneous and ‘fun’ play but perhaps even more
importantly it is non-verbal and thus non-threatening.”
The way in which you respond to the client and build
your relationship in music therapy can give them a
valuable resource within themselves. Cathy
Rowland explains how music therapy has its
theoretical base in healthy mother-infant interaction.
“The experience of focused attention from an adult
which waits and responds to a child’s spontaneous
instrumental playing, may eventually help them to
feel confidence and trust in you as a person. The
child may well have many strong emotions inside him
or her which may need to be expressed, so do not be
surprised if there is a lot of chaotic playing. With
such children I think that within this freedom it is
particularly important that you give the child strong
boundaries in terms of expected behaviour towards
the instruments, structure of the session etc. This
will eventually underline the sense of structure and
security which you are trying to give them.” Clare
Sargent explains how this can have far reaching
benefits “If you respond appropriately, supporting
them and allowing them space to explore your
relationship then this will hopefully offer your client a
positive experience of attachment which long term
they may be able to develop with other people.”
14

Ellie Watts highlights some of the aspects which are
important in the music therapy relationship. ‘Musicmaking
offers the opportunity for turn-taking
transactions to develop an understanding of
reciprocity. Interaction studies currently focus on
patterns of movement as well as sound. It is therefore
good to bear in mind that what may appear as bizarre
and random movements for a child may actually have
meaning for individual children and that aspects of
these may be incorporated into the therapist’s
responses to a child. Music-making also allows for the
development of “cause and effect” thinking (i.e. “If I do
this, then this will happen” type thinking). In creating
a sound, a child needs to initiate or create an action
and through this will begin to understand the action
and share the meaning with the therapist’. She ends
by saying ‘When encouraging social development
through attachment-focused therapy, it is important to
remember that the long-term goal of attachment is
detachment. Therapists need to judge carefully when
Singing Activity
Friends and fighters
ACTIVITY!
ACTIVITY!
a child is ready to be more independent in the therapy
room and allow for such independence to develop.
Tiffany agrees and says ‘As they begin to be able to
share with you, and feel they are being heard you will
be able to make more joint music together, which
represents a positive relationship and will help them to
address their issues of attachment with adults. Keep
being there and listening – you are already giving
them an experience that they might not have had
before. It is challenging but very valuable work – good
luck with it!’
We sing together – the room is 10 square meters, only with mattresses, we sit in a circle (mothers and children)
and we start by singing the greeting song. We say loud the names of every child.
We carry on with the song - “We are all here”:
We are all here, what can we do?
Clap our hands, of course
We are all here, what can we do?
We tap our feet, of course
Spin our heads, raise our hands and so on
It is a song that involves mothers as well as children. It makes them all happy and gets them ready to play.
(Nechifor Cornelia, Trustul Orfelinat, Ungureni)
The youngsters will be divided into two equal groups, one representing the friends and
the other the fighters. The friends are asked to choose instruments that make less noise
and the fighters have to choose the noisy ones. They will sit face to face, divided by a line
(real or imaginary). They will take turns in playing, friends trying to play as low as possible
and the fighters as loud as possible. After a few rounds, the youngsters are asked to
exchange the instruments and roles. They will again start taking turn in playing. At the
end, each one of them is asked which role he or she liked the most thus getting important
information about the type of temperament and ways of expressing of each individual.
(Ramona Gavrila, Centru de Zi ‘Sf.Maria’, Cluj)
15

Volunteer Updates
Helen Arthur (Assistant Project 2003): It has been a busy year for me. Following a great
learning experience in Botosani in 2003 I finally began a music therapy training course last
Autumn. It has been quite intense but a very satisfying experience so far. I know there are
lots of changes happening in the centres where Music as Therapy projects have been - so
I send lots of good wishes to all in Botosani and hope things are good there.
Kathryn Williams (Music Therapist Project 2000): I continue to work in Banff Canada
counselling children and youth. The children keep me very busy, as do the mountains,
spending my spare time snowboarding and climbing. I think of Romania often and admire
all the hard work you continue to accomplish. I wish you all the best in your continued
sucess with your music work.
Sarah Hadley (Music Therapist Project 99): I was delighted to read your wonderful reports
and to learn of the fantastic work that is being carried out. I do hope that you have the
opportunity to meet with one another, as it is so important to support each other when you
are working so hard. My life has been very full with Music Therapy and the work has been
both challenging and rewarding. With all very best wishes.
Alexia Quin (Director, Music as Therapy): I am now back in the office after having my
daughter, Beatrice, last May. I am also back at the secondary school I was working in
before, providing music therapy for the severely learning disabled students as part of the
Greenwich Teaching Primary Care Trust Team. Watching my own baby develop her
awareness and new skills has given me a real insight into the progress made and challenges
faced by my music therapy clients.
Elly Cowie (Assistant Project 2001): I am now working as a full time music therapist in
London, and am really enjoying the challenges of my work. I have recently moved in with my
boyfriend so am also busy redecorating our new flat! Im really pleased to hear about all your
fantastic work, and hope to spend some time in Romania with Music as Therapy soon.
Clare Reynolds (Music Therapist Project 1999): I am living in Mechelen in Belgium with my
husband Mark. I am still working at the British school in Brussels and he is playing his tuba
with the orchestra. I often think of all my friends in Romania and wish you all the very best
in what I know are difficult times for you. Keep believing in music!
Tiffany Hughes (Music Therapist Project 2000): I’m still busy writing my research thesis
which seems to be taking forever but I hope that I’ll be able to tell you it’s all finished in next
year’s newsletter! Other than that my work with children with emotional difficulties continues
in London and is going well. I work closely with the children’s parents and am doing some
training for other music therapists doing this too which I find really interesting. I’m pleased to
hear that Music as Therapy work is still so important to you and the children and adults you
are working with in Romania. It is always exciting to read about how things are going and to
know what great work everyone is doing. Good luck over the next year, particularly for those
who are coping with significant changes in your work. Best wishes to you all, particularly the
Techirghiol team, past and present!
16

Abi Gill (Music Therapist Project 2004): I am currently working in London at a hospice for
adults. I work two days a week in the hospice building itself, and a further day visiting hospice
patients in their homes. I am also hoping soon to begin working again with children with
emotional and behavioural difficulties in a local primary school. Since returning from the
follow-up visit to Bistrita, I have now been very happily married for 6 months! I have been
reading this year’s reports from Bistrita with excitement, and am very encouraged. I feel very
proud of you all. Keep up your excellent work!
Ellie Watts (Music Therapist Project 2001): I am now into my 5th year living here in Bosnia-
Herzegovina and almost able to apply for citizenship! Time seems to go very quickly and I
continue to keep myself busy running two music therapy clinics in West Herzegovina, giving
lectures on applications of therapeutic music and running more humanitarian aspects of our
charity here. I am blissfully enjoying married life and currently creatively (!?) restoring a stone
cottage with my husband in our spare time. I have been pleased to continue to hear updates
concerning the work and staff at Negru Voda. Though I understand the music programme is
currently not operative I know the staff will continue to find ways of applying key principles in
their daily care work. I send you lots of love Negru Voda ladies and think of you often!
Becca Sayers (Assistant Project 1999 & Music Therapist Project 2005): Becca is happily
married to Lenny and she was really pleased to introduce him to Romania last year when he
came out to visit her during Project 05 in Vaslui. She has also inspired her aunt and cousin
to visit Romania as tourists and they have just returned from a trip to Brasov which they
loved. She still lives in Manchester and continues to work in schools, but is now also
working with children who are refugees and is about to start working in a hospital with
children suffering from cancer.
Una McInerney (Music Therapist Project 1996): I’m currently working 4 days a week at the
University of Limerick, in a School that offers courses in the clinical therapies. Also enjoying
time with my 10 month old son who is growing very quickly. ‘I was delighted to read the report
from Cornelia in Ungureni - it’s great that she is still managing to work with music even
though she has changed jobs.’
Emily Cawdron (Music Therapist Project 2005): After the 2005 Project in Vaslui with Becca
Sayers (which was my first foray into the professional world of music therapy) I am now
settling into being a music therapist after two years of training. The next four months sees
the return trip to Vaslui and a holiday to Cuba (hopefully) in amongst three hen weekends
and five weddings.
Julia Haycock (Assistant Project 2001): Sending my warmest wishes to you all, especially
to friends in Negru Voda. I know that your gifts and skills will continue to be invaluable in
new environments and send you lots of encouragement during this time of change. This is a
very exciting time in my life as come September I will be fulfilling my longstanding ambition
to train as a music therapist at Roehampton. I have also just got engaged!
Jane Robbie (Music as Therapy Projects’ Co-ordinator): I still love working with Music as
Therapy and really enjoy hearing everybody’s news both in Romania and here in the UK. It’s
very encouraging to read how many of our local partners continue to run the music
programme even when faced with so many challenges in their working lives. Well done and
keep up the brilliant work!
Cathy Rowland (Music Therapist Project 2002): Hello! This year I have continued with my
work with children with special needs and with adults with epilepsy. Last year I was
fortunate to be able to go with another colleague to Sibiu, where we delivered some lectures
about music therapy to a group of psychology students. We had a great time in this beautiful
city. Since then I have also qualified as a sound healer and am offering sessions to
people at home. I’ve also been having lots of singing lessons and having a great time
learning many beautiful songs. Keep up the good work!
17

Sasha Taylor (Assistant Project 1998): My husband and I are expecting our first child in
August - whether it’s a boy or girl will be an extra surprise for the big day! I have also just
qualified as a gardener and have been gardening professionally for the past year.
Sarah Whittaker (Assistant Project 2004): I always had an inclination that music therapy was
for me but since taking part in the 2004 project in Bistrita I needed no further inspiration to
go for it. So I am currently studying on the full-time music therapy course at the Royal
Welsh College of Music and Drama and should hopefully qualify in September. Who
knows where things will take me then?
Janina Holloway (Assistant Project 1999): I am back working at the University of Wales,
Bangor as a welfare adviser for international students after having recently spent a year
travelling and working in various parts of the world with my husband Jon. Since coming back
we have moved into a traditional welsh quarrymans cottage on the edge of the Snowdonia
National Park in North Wales. I hope that Music as Therapy is continuing to do well at the
Sfanta Maria Centre and that the staff, adults and children continue to enjoy communication
through music.
Anne Vernon (Music Therapist Project 1998); I send my best wishes to you all, especially to teams in Negru
Voda and Constanta. I’m enjoying life as a Mum, with Megan aged 15 months keeping me busy. I’m also
working 2 days a week in a special school as a music therapist with groups and individual children. I have
recently been involved in providing training courses to teachers working with children with special needs in
mainstream schools and some of the musical activities that we used on the Romanian training courses came
in very handy!! I understand that it has not been an easy time and that there have been many changes for
you all........ you have been in my thoughts.
In brief:
Jane Mayhew (Music Therapist 2003) is expecting her first baby mid July – best wishes to you! Aingeala de
Burca (Music Therapist 1998) kindly helped raise money for Music as Therapy by playing the violin at the
Christmas Ball. Edwina Meek (Assistant Project 2003) continues to work and live in London, as does Katie
Draffan (Assistant Project 2002). Emma Lovell (Music Therapist 2001) has been working hard to complete
her MA - the best of luck! Meagan Hunt (Music Therapist 2002) continues her work with refugees in Australia.
Adelaide Robarts (Assistant Project 2002) regularly invites us to the many musical performances she is
involved with in and around London. Emma Penkith (Music Therapist 2000) is very much enjoying motherhood
with her second child and continues to live in London.
Impreuna Website
We are very keen that our Romanian partners be involved with Impreuna,
the Romanian National Network of Community Arts Activities and
Therapies for people with Special Needs. The network was formed in
2003 in response to requests from professionals in the field who felt
isolated and needed information on working methods and training. The
national network now has 700 signed up members, publishes a regular
newsletter, runs an e-mail forum and has just launched its website:
www.impreuna.arts.ro
The website features useful tools such as a discussion forum - where network members and others can
exchange information, get mutual support – plus the latest news, reviews, and trends about what is
happening in the areas of training, working methods and accreditation.
Some of our local partners are already featured on the website!
18

Asociatia Down Oradea Romania
Piata 1 decembrie (Cresa)
Etaj 1, Oradea
Name of Centre Description of Centre
Centrul de Educatie Speciala ‘Speranta’,
Strada Fagului Nr. 17
Timisoara 1900
Centrul de Recuperare si Reabilitare pentru Persoane cu
Handicap Cighid
Comuna cimeghiu
jud Bihor 3682
Centrul de Plasament Beclean
Str. Liviu Rebreanu Nr. 22A
jud Bistrita-Nasaud
Complex de Servicii Comunitare ‘Cristina’
Strada Pandurului nr.120
Constanta 8700
Centru de Recuperare si Reabilitare Neuropsihiatrica
Techirghiol
Str. M.Sadoveanu nr.9
Constanta 8713
Centru de Plasament Sf. Spiridon
Str. Maresal Antonescu Nr.8
Botosani
Centru de Recuperare Pt. Copil cu Handicap
Str. Toamnei Nr.1A
Bistrita Nasaud
Centru de Zi ‘Sf. Maria’
Str. Strugurilor 18
Cluj 3400
ADOR is a parents NGO. They have the day centre ‘Ivy’ for young people and adults with
Down’s syndrome. They also have activities of early intervention: music and speech therapy for
children of pre-school and school age. Contact Felicia Unguru Tel: 0259 41 95 01
The centre ‘Speranta’ offers an alternative form of education for children with special needs,
which contributes to the improvement of the lives of the children and their families, by offering
services and therapies, medical and psychological assements and evalutaion, special activites
to aid recuperation. Contact Temi Stoi Tel: 0256 19 50 05 e-mail: fas@mail.dnttm.ro
Rehabilitation centre for people with disabilities. The residents have mild and complex
disabilities, both physical and mental. Contact Dana Nistor Tel 0298 621 601
A state run institution for 117 children and young adults between the ages of 7 and 26 years old.
The centre has been refurbished and has introduced ‘family style’ apartments whereby each one
houses up to 8 residents. Contact Sorin Chindris Tel: 0263 34 07 44
This centre has a new client group and is now home to children with severe physical and mental
disibilities. It also has a day centre for children with disibilities. Contact Mariana Dolache Tel:
0241 68 09 40
The centre shelters 300 adults with neuropsychiatric disabilities, aged 18-90 years. Contact
Seian Seitamet Tel: 0241 73 58 44
A state run institution for 85 children aged between 3 and 18 years old. The majority of children
have medium to severe mental and physical disabilities. Contact Iulia Cocris Tel 0231 51 60 10
The centre is one of the newest types of care provision in Romania. It compromises of three
types of service, and apartment for children who live there permanently, a Day Centre for
children with disabilities and a Recuperation Centre which offers therapies and recuperation
services for 100 children a month. Contact Liana Rusu Tel: 0263 237 422
The centre aims to integrate socially and econnomically young people with medium and severe
learning difficulties, through school and work activities. The centre runs to suit their level of
development. Contact Romona Maria Gavrila Tel: 0264 41 40 22
Fundatia Inocenti A day centre within Centru de Recuperare providing family support activities. Contact Eileen
McHenry
Fundatia ‘Pentru Voi’
Str. Ioan Slavici Nr. 47
Timisoara 1900
Fundatia de Sprijin Comunitar
Str. Livezilor nr. 1
Bacau
Organizatia Terapia prin Arta
Str Odobescu Nr. 56a,
Timisoara 1900
Scoala Ajutatoare Nr.1
Str. Roman Ciorogaru, Oradea
Bihor
Scoala Pentru Surzi, Vaslui
Str. Mihail Kogalniceanu Nr. 25
Vaslui 6500
Scoala Speciala Nr.1, Bistrita
Str. Alba lulia 20
Bistrita, Bistrita-Nasaud
The day centre for adults with disabilities is a community based service for people with
disabilities, which aims to improve their personal independence and helps integrate young
people with learning difficulties into the community. Contact Ciprian Panciu Tel: 0256 22 80 62
e-mail: pentruvoi@xnet.ro
This NGO provides social, medical and eduational services for institutionalised children and
adults, for poor families in rural areas. IMPART is FSC’s 13 year old project of creative arts for
children and adults with special needs in the NE of Romania.
Contact Lenuta Nastac Tel: 0234 18 56 58
‘Terapia prin Arta’ is a non profit NGO which aims to provide art therapy recuperation services to
the community and develop some alternative services aiming to re-introduce into society
children abandoned in intritutions. Contact Mirela Navligu Tel:0256 19 37 75
A special school for children living with their families and also children from Placement Centres,
aged 7 to 18 years. Teaching takes place in the morning and therapy/recuperation sessions
take place in the afternoon. Contact Raluca Terhesiu Tel: 0259 437 891 e-mail:
ralucaterhesiu@yahoo.com
This is a state run school for children with impaired hearing and special needs from the ages of
3-18 years old. Contact Tatiana Draghici
Tel: 0235 31 15 54 e-mail: drtatiana2001@yahoo.com
A special school for 191 children aged 5 to 17 years old with a range of emotional and
behavioural problems. Some of the children reside at the centre whilst the others stay with their
families or in Placement Centres. Contact Viorica Cretu Tel: 0263 237 038 e-mail: scoalaspeciala@email.ro
Trust Orfelinat Ungureni TOU is an NGO which has been involved with helping the children of the Camin/Spital Ungureni
since 1990, and those in the paediatric section of the Bacau County Hospital. Contact Cornelia
Nechifor Tel: 0234 72 46 79 e-mail: cip@mic.ro
Casa Luminii
Str. Plopilor, Nr. 16
Sibu
Complexul de servicii comunitare pentru copilul cu
handicap
Str. Transilvaniei, Nr. 2-4, Sibu
Contacts Page
Casa Luminii is an NGO run Day Centre for children aged 3 - 18. Contact Florentina Schiau Tel:
0269 21 25 99
This is a State run Community Services Complex for children between the ages of 0 - 18 years
old. Contact Simona Benchea Tel: 0260 23 20 66
Music as Therapy, The Co-op Centre, 11 Mowll Street, London, SW9 6BG, ENGLAND (Tel/Fax 0044 20 7735 3231)
Email: alexiaquin@musicastherapy.org janerobbie@musicastherapy.org
19