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Feminist perspectives in music therapy Dr. Susan Hadley, Editor Gilsum, NH: Barcelona Publishers, 2005 ISBN 978-10891278-38-X
I imagine that readers will have one of three responses upon reading the title of Susan Hadley s 2005 book, Feminist Perspectives in Music Therapy bored indifference; scepticism about the need for such a book; or immediate curiosity. It is only fair to let you know that I was of the latter response. I was instantly excited to see these two words together because although they are key elements of my professional identity, there has been little to guide me in their integration. Consequently, I was delighted to discover this book, and proud to recognize women with Canadian ties contributing chapters (i.e., Sandi Curtis, Carolyn Kenny, Terra Merrill, Colleen Purdon) and being cited (Sue Baines).
The book opens with an overview of feminism. Defined as the belief that gender inequality exists based on longstanding assumptions of male superiority and centrality that must be identified, challenged, and critiqued, feminism is competently introduced by the editor, Susan Hadley. The multiple feminisms that characterize contemporary feminism are explained and a succinct, wellreferenced, historical rendering of the three waves of feminism is presented.
The next 21 chapters are authored by women who represent an international community of women allied with both music therapy and feminism. The chapters are divided into four sections t (a) theory, (b) practice, (c) feminist critiques of conventional music therapy, and (d) training issues. The first section of theoretical contributions focuses on the development of feminist music therapy models. Perspectives are wide-ranging, variously informed by sociology, community music therapy, an indigenous ecological worldview, the Goddess tradition, the Korean theme of Han (i.e., the longstanding silent suffering as well as resilience of Korean women over time) and the Taiwanese culture of music, healing and women.
The second section describes individual and group music therapy as practiced with a feminist lens. Six chapters are included in this section. Clinical work is described with? (1) a West Indian woman who became involved in music therapy after suffering a stroke and being admitted to the long term care wing of a hospital; (2) adolescent girls participating in individual music therapy because of issues related to abuse and violence; (3) adult women involved...