Hadley, S. (Ed.). (2006). Feminist perspectives in music therapy.

Daveson, Barbara

Hadley, S. (Ed.). (2006). Feminist perspectives in music therapy. Gilsum NH: Barcelona Publishers. US$54, 500 pages, ISBN: 978-10891278-38-X

Occasionally within professions, books are published that have the potential to motivate reflection and prompt change. Feminist Perspectives in Music Therapy, edited by Susan Hadley, and published by Barcelona Publishers is an example of such a book. Feminist perspectives, and ones that vary in content, view and application, are presented and considered in relation to music therapy in this text, and as a consequence self-reflection in the reader is encouraged. For this reason and for others shared in this review, the book is highly recommended to those within and associated with music therapy.

The book is divided into four sections. However, each chapter is able to be consulted as a stand-alone document. Section one is useful to those aiming to learn more about feminism and those wanting to extend or develop a culturally sensitive music therapy practice. In this section, the reader gains a sense of the unending possibilities of embracing feminism within their work, as reflections about feminist music therapy from around the world are found here (e.g., work by Jennifer Adrienne, Lucy O'Grady, Katrina McFerran, Frances Smith Goldberg, Seung-A Kim, ChihChen Sophia Lee and Carolyn Bereznak Kenny is included).

Clinical work is solidly focussed upon in section two with issues related to feminism directly referenced in this section (e.g., racism and heterosexism). The information in this section broadens the literature base of many areas of music therapy practice (i.e. people with CVA, by Theresa Merrill; chronic pain, by Jose Bradt; trauma, by Dorit Amir; and work with those who have or are experiencing abuse, by Colleen Purdon, Sandra L. Curtis and Elizabeth York), and it is recommended as a supplement to the clinical-focussed literature already available within the field.

In section three, feminist theory is shared that has the potential to challenge current practice and assumptions within music therapy. This section, to me, is a highlight of the book, as the information here has the potential to shape the development of the profession. Randi Rolvsjord, for example, explores discourse (e.g., the concept of the "holding mother") within music therapy and shares her belief that "non-gendered concepts" (p. 322) are required for feminist music therapy. Jane Edwards highlights that "one of the greatest capacities of professional therapy facilitation through music is to come alongside clients into a new realm of self-determined agency, sometimes even from the source of our and their anger and rage about their circumstances" (p. 384). Laurie Jones shares reflections about song selection and how sexist subtexts may influence therapy. Plus, a discussion about capitalism's influence regarding the use of branding in music therapy (e.g., the labelling of models of music therapy such as community music therapy) is provided by Elaine Streeter. This section is rich with knowledge and critical appraisals of current practice and contemporary thought/trends within music therapy, and can be used to stimulate and fuel debate within music therapy.

Music therapy teaching (Susan Hadley), supervision (Michelle Forinash), assessment (Sue Shuttleworth), research (Barbara Wheeler) and ethics (Cheryl Dileo) are explored in relation to feminism in the final section. In this section, the notion that feminist research is synonymous with qualitative research is debunked (Barbara Wheeler). Plus, reservations about a number of practices within feminist therapy are challenged, in particular, the use of self-disclosure and the need for all therapists to become social activists (Cheryl Dileo). This critical reflection is a welcomed addition in the text, as often the authors seemed able to critique non-feminist viewpoints, but less frequently offered a critique of their own viewpoint when presenting their work. Nevertheless, Cheryl Dileo concludes that "it is essential for music therapists to be knowledgeable about feminist therapy and feminist therapy ethics" (p. 488).

In summary, this book and the process involved in making it (as described by Susan Hadley early in the book) are examples of community development work in action within our profession. It is an exciting and challenging text that is useful, practical yet also intellectually stimulating. It is highly recommended for use within the field.

Reviewer: Barbara Daveson, RMT Head of the Music Therapy Department, The Royal Hospital for Neurodisability, London and PhD Candidate, University of Melbourne, Australia