Westly Pipes Filmolgy

Circular forms

Citations are some authors from different fields of knowledge, depth psychology, as CG Jung, Studies of religion, Mircea Eliade, American anthropology, Carlos Sarasola. This summary is in a bibliographic record's 2007 Etnomúsica chair of the University of Salvador. Ms. Elena Holder Hermo. Assistant: Gabriela Siccardi Mt. Special Assistant: Mt Soledad Rivas

are important theoretical links offered by these humanistic disciplines are discussed from different approaches, symbolic expressions of different cultures. For community music therapy are open to new contributions joints on the sound and musical structures repetitive and circular, to Quelle "modulate" early bonds, rock, Islands International, bathroom sound, those that appear in the narration of stories, songs and rounds in the playground , the songs of marches and demonstrations and the soccer fields, the formulas that emphasize rhythmic improvisations, which are used for meditative (prayers, mantras) are examples.

WORLDVIEW - DRUM Shaman - MAGIC CIRCLE-CIRCULARITY



Worldview "The word worldview seems comprehensive enough to explain the existential approach to the indigenous have on all around him-including the universe and and the forms it takes the man and the community to interact with him. The latter is important because for indigenous men their daily lives is a replica of the workings of the cosmos and both planes, daily life and the cosmos, are essential parts of the worldview Carlos Martínez Sarasola

A definition worldview of Köhler (1980): "In the worldview of a people is synthesized in a structured way the main concepts of the form and quality of the universe, its inhabitants and man's place within that system. Especially in traditional cultures worldview provides a model for various aspects of culture, as the patron seating areas, the social organization and rituals of many kinds. For this reason the influence of various forms worldview routine life of the respective people. "




The shamanic drum El Tambor plays a major role in shamanic ceremonies. Its symbolism is complex, multi-office magic. It is essential for the development of the session, the shaman leads to the "Center of the World", and you consent to blow, and convene and "pinch" the spirits, and now, finally, that allows the shaman drumming focus and re-establish contact with the spiritual world that has done.
by the fact that the case of your drum is removed from the wood itself Cosmic Tree, the shaman, the tañerlo is magically projected near that tree, is designed to "Center of the World," and by the same impulse, can ascend to heaven.
From this point of view, the drum can be identified with the shamanistic tree multiple steps, by which the shaman symbolically rises to heaven.
The drums are in effect, a microcosm: a limit "topographic" that separates Heaven from Earth, and in some places, the Land of Hell.
The initial roll of the session, intended to evoke the spirits and "closing" in the shaman's drum, is the preliminary time ecstatic journey. For this reason it is said that drum is the "shaman's horse (Yakut, Buryats)
shamanic drum precisely distinguished from all other instruments of the" magic of noise, " because it makes possible an ecstatic experience. Mircea Eliade





THE CIRCLE, THE MANDALA

"Mandala: Sanskrit for circle, and even magic circle. Its symbolism includes all figures that are available with centrally, circuits around a central, round or square and all the provisions radial or spherical shape, to mention only the most important forms of manifestation "


" I choose because word mandala means circle or ritual magic, especially in Lamaism and in tantric yoga, Yantra is used as this is as a tool de contemplación. Los mandalas orientales, en su uso para el culto, son imágenes tradicionalmente establecidas, no solo dibujadas o pintadas sino también formadas por cuerpos, que se emplean en determinadas festividades.”
“El verdadero mandala es siempre una imagen interior que se construye paulatinamente mediante la imaginación (activa) y cuando sobreviene una perturbación del equilibrio psíquico o cuando no se puede encontrar un pensamiento…” “En todos los mandalas lamaístas predomina no solo un cierto estilo inconfundible sino además una estructuras tradicional. Por ejemplo, siempre se trata de un sistema cuaternario, de una quadratura circuli, cuyos contenidos provienen en todos los Lamaist cases of dogmatism.
"For me there is no doubt that in the East these symbols had their origin in dreams and visions that were not invented by some church father Mahayana. On the contrary, belong to the oldest religious symbols of humanity. And maybe already in the Paleolithic period (note the rock drawings made on Rhodes). "
"Mandalas are very important because its center contains a figure of supreme religious value (...) So if all signs deceive us, those qualities (metaphysical) mean a psychic center of personality that is not identical to self
Carl Gustav Jung

CIRCULARITY

The circle as a geometric shape and circularity as an idea, are the most complete representation of the concept of totality, from the time (round as the Aztec calendar that we propose an idea of different time, essentially non-linear, not a progressive sequence of events) to certain rituals like the sweat lodge ("sweat lodge or inipi) and even their own Sun Dance of American Indians, to mention only some events are full of circular that are the symbol of the whole. Says

Sioux chief Black Elk: "you have seen everything that makes the Indian does in a circle, and this is because the power of the world always works in circles, and all things tend to be round. In the old days, when we were a strong and happy people all our might we leave the sacred circle of the nation, and as the circle was unbroken the people flourished. The flowering tree was the living center of the circle and the circle of the four quarters nourished it [...] All it does the power of the world gets in a circle. The sky is round, and I heard that the earth is round like a ball, and the stars are round. The wind at its maximum strength, swirls. The leaves are nests in a circle, having the same religion as us. The sun rises and sets in a circle. The moon does the same, and both are round. Even the seasons, as it changes form a large circle and always come back to where they were. Man's life is a circle of childhood to childhood, and so everything that moves power. Our teepees were round like the nests of birds and were always arranged in circles, the circle of the nation, made a nest of many nests where the Great Spirit cobijásemos want our children. (Quoted by Brown, 1983: 25)

The same goes for Mapuche rituals as Nguillatun (supplication) in which all The ceremony was held over three days in a structure of concentric circles: The first is the center, instead of the offerings, prayers and dancing, then comes the "ramada" which is the set of shacks in which they are installed different family groups, then the outer circle that wraps around the great ceremonial space around which the riders ride ritual several times a day between the ramada and the central circle, the representative characters are invited by the head of the host community during the lunch, diners are arranged in a circle, the sacred drum Kultrum or running permanently is also circular. Carlos

Martínez Sarasola


The bold, underline and italics are the chair
BIBLIOGRAPHY:


Eliade, Mircea, Shamanism, Fondo de Cultura Economica, Mexico, 1960
Jung, Carl Gustav, Psychology and Alchemy . Santiago Rueda Editor, Buenos Aires, 1957
Sarasola, Carlos Martínez "The circle of consciousness. An introduction to Native American "in
The language of the gods. Art, shamanism and indigenous worldview in South America. Editorial Biblos, Buenos Aires, 2004

Whitewater Canoe Outfitting

"convivial where you look round the new faith"

Picture used for submission of papers from community music therapy. The first was in Congress I internancional Summer. January 2004. Buenos Aires.
The phrase belongs to the poet John L. entrerriano Ortiz

Funny Military Saying

Form for submission of projects. August 2003

Dear Friends Community Music Therapy:
go in the direction of thinking to systematize the production of music therapists who we play in the socio-community they share a form I designed to Oden data our work. It may be useful to make the next game-day-party that gave us who participate and make this Forum. That day, as usual, we'll go from virtual to real. Already, some colleagues asked me where and when we met. Minimum

comments form: Part A refers to the overall project, if any, which develops the set of activities, including cultural, community living room, NGOs, neighborhood assembly, etc.

Part B is specific to music therapy and / or related practices by therapists such musical education in rural areas, radio, etc. The results suggested format to develop several aspects including (item 7) a letter about the experience ... poster, etc ... It should be noted that those
who are interested in starting work at the community level can serve to get glimpses of what it is.

Any questions ... You know, try to answer together.

musicoterapia_comunitaria@gruposyahoo.com.ar
Gabi Siccardi


Form for submission of socio - Community

A: Overview of the project

1. Project Name:

2. Institution / organization responsible

3. Music therapist / s: (name)

4. Brief description of project (start-up, goals, outlook etc.)

5. Target population:

6. Location (geographical location and main features)

7. Team participant:

8. Infrastructure and equipment:

9. Funding:


B. Specifics of music therapy practice

1. Proposed keywords:

2. Description of the project coordinated by / the music therapist:

3. Music therapy interventions: developing the activities, approach, framing techniques and more resources used.

4. Actions taken by the music therapist that is not specifically for music therapy (eg. meetings, participation in other activities, etc.).

5. Obstacles have been detected in the project (environmental, economic, cultural, vocational training, etc.).

6. Classification proposal: (tick as appropriate)
a) clinical music therapy
b) music therapy preventive
c) Community Music Therapy
d) recreation
e) specialized musical education
f) entertainment and cultural promotion
g) other

7. Research methodology that is interested in developing or already using

8. Free writing about the experience: reflection on practice, dialogues, questions, theoretical links.

9.Autores reference or bibliography:

1st. Diagram / poster:

10. Musical sound material (presentation format):

11. Video or multimedia material:

12. Comments / Feedback:

Overall Best Digital Portable Tv

community intervention subject and object

PREVENTIVE THERAPY WORKSHOP (UAI - USAL) 2003 Mt Claudia Mendoza




"THERAPY TO SOCIAL COMMUNITY
SUBJECT AND PURPOSE OF ACTION."


-context in which it arises Preventive and Community Music Therapy.
-Models of Professional Conduct.
-Projects Chair "Preventive Therapy"

USAL

INTRODUCTION:
Before addressing the chair Projects Preventive Therapy we have done together with the students and the community, I want to briefly refer to the "historical context social "from which we start the music therapists to reach this scope as well as the new trends that arise as a result of growing demand for a society where it is very urgent for health professionals assume the Ethical commitment active participation is required in a country where "social suffering" replaces or exceeds demand individual clinical work.

context in which it arises Preventive and Community Music Therapy.
For many years music therapy has a strong relationship and orientation to clinical work, especially with what we commonly call "Mental health" rather than general health, but in the world since the 60's will produce a great move by disciplines such as sociology, anthropology and psychology, resulting in the paradigm shift from a conception Biologis Health more comprehensive. From the broad interpretation of health-disease process, its influence on social life, the MT. taking the contributions from different fields of social sciences began to perform a specific action in the middle, which systematization and conceptualization is still under construction.
In Latin America, the reflections and journal articles and books on the problems of public health and alternative solutions proposed by the music therapy are scarce, but we can not fail to mention as background, the valuable contribution of Ronaldo Millecco and colleagues from Brazil, being the country with Argentina, Uruguay and Cuba pioneers Dealing with this issue ..
worth mentioning that in recent national and Latin American events of our discipline has been given prominence to the opportunities for discussion and exchange on this subject.


BUSINESS MODELS FOR ACTION:

There are different performance models involving different contexts and modes of action.

· Clinical Music Therapist.
· Community Music Therapist Music Therapist Preventive and Clinical Musicoteapeuta

:
This performance model is focused on the individual rather than group or community, would focus a "demand" by a family or patient for alleviation or solution to a given condition, framed, as a reference in the mental disease or rehabilitation, liaise with the hospital work more often than primary care in community institutions, being more associated a medical or psychological disciplines and sometimes considered a paraprofessional activity (although at present we have more autonomy and control over the guest speaker.) This position necessarily implies a "therapeutic setting." Clinical
The MT has had and has a very extensive practice, has made fundamental contributions in the field of rehabilitation and S. Mental.

Therapy Clinic's work occupies an important place in addressing certain problems and diseases (such as psychosis, autism, neurological and sensory disorders.) Moving towards MT.P not to deny the importance of this mode of approach but rather involves nurturing of their experience and contribution by placing them in a more comprehensive scale.
In this model of performance will result in: music therapy treatment to generate changes in a subject.


MTC = T (MT Clinic = Treatment = generation changes in a subject)


Preventive and Community Music Therapist:
This performance model would focus on the concept of positive health. "Health is seen not as the goal, but as a source of wealth of everyday life" (Ottawa Charter 1986).
Starting from the premise that many of the problems people can be resolved in the best way at the community level and that when citizens and groups come together to effectively address a problem that affects the community is a feeling of " realization "(Holtzman 1988).
This position implies a context linked to the field of research.

TM. Detention is the result of the evolution of the practice and is mostly is part of the changes that occurred from the demands that health services make to the MTAs. or as a result of the changes by the new problems that these services were in need of care.


Example:
· Problems of anxiety and stress (panic attacks, phobias, illnesses aggravated by stress etc.)
· Problems that arise in the educational-occupational context (aggressive behavior, antisocial)
· Problems arising from Psychological maladjustment to physical illness (hospitalization, trauma from surgery, terminal illness, etc.).
· Problems that arise as a result of las crisis vitales (Ej.: desajuste físico y psicológico por nacimiento de los hijos, adolescencia, vejez etc.)
· Problemas que surgen como consecuencia de la crisis socioeconómica (Ej. desocupación, aislamiento, caos social etc.).


Aparece entonces la COMUNIDAD como sujeto y objeto de intervención...


Esta nueva dimensión que adquiere la profesión cuando el objeto de intervención deja de ser un paciente, con determinada historia y aparece un nuevo “sujeto social” que demanda una respuesta por parte de todos sus miembros, hace que Mta. adopte entonces una posición diferente a su rol clínico tradicional para asumir una nueva dimensión en its activity as a subject of culture, will be closely involved with the reality you want to transform, and in which it is immersed, it should be noted that there are different modes of intervention as it is a prevention project or at a Sonora Community Experience. Preventive

The Music Therapist: Who are

MT. Preventive?
Are those who during their training music therapists were trained to meet their professional activity in areas of Public Health and the area of \u200b\u200bPromotion and Prevention Primary Health: Examples: "cultural programs", "Promotion Campaign Health and Disease Prevention, "as well as for the development and implementation of Preventive Therapy Project.

How does a MTPreventivo?
investigating and acting on issues of Health. Detecting
sound psychosocial risk indicators and implement sound technical and musical sensitization (TSSM).
Participating in the development and planning of interdisciplinary projects and Institutional Research and technical and methodological elements that constitute its specific contribution.

Who do you work?
works with other health professionals - education and community members offering their contribution to the so-called "population at risk."
will take charge of the responsibility in conjunction with other professionals and community members to develop a strategy to cope with problems related to the needs and priorities of the community, and important a correct view of these problems, bearing in mind that people perceive as their problems.


What difference raises the actions of the Community Music Therapist Preventive d? :
While the boundaries between the activity of the MT.C MT.P are subtle consider it necessary to refer briefly to some of the "positioning" required in one or another instance.

preventive
The Music Therapist (MT.P) is in the field of Action Research, the object of study focuses on the person or group of persons at risk, where "risk" to the conditions life, norms, values, motivations or behaviors that are abnormal risk of having a disease process or be adversely affected by this process.
His work will focus on the identification and study of "signs or sound features Psychosocial Risk"

" What is your role and how involved?:
Its function is to "enhance traits "Healthy" of a subject or group of individuals implementing awareness techniques, expressive sound.
their professional role is not direct but rather "guide" or "guiding process"
This performance model will result in an investigation in order to enhance healthy traits of an individual or group of subjects at risk psychosocial .
MT.P = IA (Music Therapy Research Action = preventive = enhance healthy traits of an individual or a group of subjects).


The Community Music Therapist (MT.C) will be interested in the cultural anthropological dimension of phenomena connected Community Health to stimulate reflection and sharing life experiences sound at the group level. Community Music Therapy leaps
dividing line that separates or distinguishes the therapist as representative of the knowledge in the "health" to put inside the frame in which he also serves on Health.
The analysis of the results referred to his own aesthetic experience.

What is your role and how involved?
The role of MT. Community, will be will guide and facilitate the energy generated by sound or music events that arise from social groups due to conflict or emergency social protest. There
the resulting need to do more with the sound you acquire the experience and group reflection on the importance of musical expression in cultures with a preplanned activity.

-Musical Sound Collective experiences that arise as a manifestation of social distress for example: "pot-banging," "Llaverazos", "musical experiences and / or sound in popular assemblies," Murgas Neighborhood "musical spectacular street" etc.).

This mode of intervention will result in a participatory experience-musical sound recovery and / or revaluation cultural.

MTC = VSM (Community Music Therapy = = Experience Experience musical sound participatory cultural recovery).

Undoubtedly there are new questions and challenges for our profession is moving towards SOCIAL THERAPY as a branch of traditional music therapy, we can affirm that it is necessary, adequate training of music therapists from the houses Preventive training and On one hand, students should be aware of major health problems in their countries or regions to develop full professional practice in diverse work situations and on the other hand, this would entail a positive impact on health conditions in Argentina contributed to a resounding makeover of our discipline in society.

Opening A Counseling Practice In Colorado

Summary of community music therapy workshop

Summary community music therapy workshop
Preventive Therapy Pre Usal day coordination and transcription
2004 Abstract: Gabriela Siccardi (GS)

The meeting was a participatory mode: Before you begin the coordinator did A brief reference to the history of the virtual forum, how it was born, in what circumstances, etc.. (1)
Then, the first time is devoted to the presentation of each attendee with their expectations and brief account of his work (school, club, dining room, living room, etc.). This moment was very rich because we could hear the different areas and modalities of integration and music therapists work in a social context.

A second time was given to research into 3 small groups (5 / 6 participants) of
1. What is a community, we mean by a community
2. Community music therapist attitudes
3. obstacles that arise in practice in our professional community.

then perform a plenary where we were putting together the various views, opinions, questions, and agreements.

thought was clarified to share reflections submitted by Claudia Mendoza and Carina The Re Unfortunately the image file that Carina could not be sent to print.
One participant proposed that the forum can access this material.

point 1. Think and think what a community group
1. first recalled a definition of a teacher: A humanity that has something in common. There are different types of community. It has to be some identification. Not given by natural variables, context. The community is built, not given just because they live in the same neighborhood.
group 2. There is a unity, a group of people who share ... The community is given but may be modified or rebuilt. Given and subject to change.
group 3: Common goal, a task that brings. Arises from the needs. This consists of a diversity.

GS: first find the given: geographic, demographic, and other movement, change, transformation, something that goes to a place, what I call project.
a community as such, not a whole population, it is recognized, there is identification, is in what we call the symbolic: the traditions, games, history, language, language, history and people, and all that which is given but a motor that drives where we go, as we solve our problems. The work done by Virginia P. through the project "rescuing the nursery rhyme "in the field of education tends to rescue the music of children's oral tradition. So it is a community project, impacts on the cultural heritage of these communities impoverished by the loss of their songs.
Patricia Pellizari (PP): there appears to be difficulties today in most urban communities of this project and self management. There is a perceived disappointment, despair, the primacy of the individual. The self first. I think the more rural communities and the poorest sectors is not as well. The solidarity appears.
GS: a bit in contrast to what is being said, I come from a new experience, which is the neighborhood assemblies. Just how rare was that in a city where 3 neighborhoods converge, we began to build a place, with the relational features of urban anonymity, .... and begin to shape a community where people appear specific resolutions that are out of work, or cut off the gas, or are homeless, or need money. Shares mine as Mta. were for the recognition they gave me as someone who has some knowledge about music and health. However, we must tolerate the ebb and flow of the communities, as also noted in the forum. There are moments of production and moments where nothing happens. This has to do with "vital rhythms of communities"

Petronilli Virginia (VP) as a kid, building society, neighborhood centers existed, and now it's like they reappeared. GS

whether to round out the idea, for me the community is something which is given but you have to work every day and everywhere, is a community attitude. It has to do with the plot to link with networks, with how we relate and projects. I understand that the music therapist must be able to hear what is the project of this community? Is my project? or is the project of these people? like I'm part of these people so that we can agree on the assembly of a project?

The second line of thought is the attitude, look at ourselves to ourselves.
group 1. when we go to a community first attitude would see what is needed, not going to impose anything. the other thing that was said was: embodying another code. Sometimes things do not work because they see us as something distant that we have nothing to do with them.
The idea is to be an instrument. Do not impose. Opening. Arises the need for methodological tools.

group 2. commitment to integrate into the community, perseverance, openness to learn about different forms of relationships, flexibility in the proposals and (.... no means in the recording)

group 3. listening, openness, not having high expectations, being part of the community. Movement, we do not like models healthy, but questioning the naturalized participate. Community that we receive and be a part.
PP: that networks facilitate oil, for example ... a1 with the director of school where we did the project ... I said, "when we have to perform the work table with the teachers? ... because the kids (school students) say a lot about the teachers .... and there are things dense. The director said he came very well "since you are outside to denounce and put on the table problematic situations of violence of abuse among children and teachers." And this being outside, sometimes thought of as an obstacle, often can be exploited as a facilitating tool. Building Hope network is a possible alternative health and welfare, and that this means ... lost. Lean on the other is a perspective of health. GS
I think there are different approaches .... for a preventive approach is fine (to be outside or not belonging to the group or community). In this approach arises in, develop, adjust, leaving out certain capacities. Is different from the community work that has network, there must be links, registration of the other, trust, processes are slower. Maybe a music therapy space is still on the horizon. There are other steps above so that later you can give a specific activity. VP
thought that the opening is sometimes given on the other side. He entered a village vaccinating dogs with scabies, after these processes, one day you installed the project. Not that one comes to the project. And it's not hard. The project intends to work the link between adults and children, and rescue all the cultural baggage that is lost in transmission. Each community is different. Flexibility is one of the attitudes
GS. the aim is wider, not just perform a task or goal. VP Community
As there is an extension of linkages, networks that it generates, PP
I kept thinking in the projection of the intervention. What is before and what is later (in relation to an intervention or project a preventive and community). I have many doubts among the points of contact and difference between community and preventive. There is an ideological issue that can differentiate prevention of community (beyond the approach.) Regarding the approach has to do with the scope of the project because such a project has a clear theme as ours, "analysis of the indicators of psychosocial isolation and integration" seems to have some prickly or outside the community, and come to draw a line. But the ideology of the project, flexibility, does not point to that side of sanitarism that relies on primary prevention. There is something of the ideology that builds a program and some of the projection of that ideology weapons program, as the sample. When you're working on a program that deals with integration, psychosocial isolation, and the program allows, supports and facilitates the coming of the keeper and tell the whole story, and come to the neighbor, and also tell you, and we a building society, and we moms of the kids, and put up nets ... I did not dare to say that this is not community. This has to do with the educational community and neighborhood. But you seem to read the project and a project conceived public health.
GS. the clinic can also be viewed from a community perspective or not. You can take a community approach in preventive work or clinical. Saying "community" is saying many things at once. It has to do also with the attitudes of the professionals who choose, by personal history, ideology, we look at what happens in society and we take it into account.
RFP, a social viewpoint.
VP I think this project as preventive and community, and strictly preventive or community, but preventive and community.

third line of thought:
barriers, needs we have in the task or as a professional community, and how to seek solutions together.

group 1. build networks that work to continue when the operation ends. There are a teacher who says ... "Arrange the start." This came in relation to that when we do preventive work, it should be clear that one goes, show some, it detects certain issues, generates, leaves an impact and leaves .... so we talked about how to leave. Output processing. It is from a preventive model, but ... from what we were talking just after community work continues, continues. A preventive project can be a contribution more, but dependence that one can go, having spawned a network and that the community can continue working. Start
participate in government programs, to transcend the job. You need to be sustained, because if there is no recognition, but the tiredness or lack of resources, materials for do .... work sometimes falls. No spaces
installed. You go, assemble, maintain ..
not be a musician, but music therapy workshop.
as work to install the music therapy.
- whether in the field, at one time was in the clinic.
now, perhaps the task is to get the post of music therapists in schools.
If, in the general direction of schools.
present the project to the inspectors to know him. Do not wait to come to know the work but make it known.
assess experiential expressive experiences rather than theoretical

group 2. We (community action group, Assam) seek materials, books, jobs, experiences, not that there were, but who did not know if. We had no access. It is difficult, we in the faculty in the department of public health, we find that there are other disciplines that do have a more community health course in the implementation of projects. There is a big gap in the UBA on this topic. We need to know specific methodologies for preventive and promotional approach and access to systematization. On the Internet there appears a project in Oslo, which is a choir for the elderly. But another reality. We want to know how to make a diagnosis (tools) How to calculate the time of preventive intervention, promotion.

group 3. (No interference in the recording)
think the research, what and how to investigate.

GS
finally read a few concepts of the work submitted by Claudia Mendoza: (posted on this Blog)
Music Therapist Preventive and Community: The performance model would focus on the concept of positive health: "Health is seen not as the target but as the source of wealth of everyday life "(Ottawa Charter, 1986) (...)
the community as subject and object of action ...

This new dimension that takes the profession when the object of intervention is no longer a patient, with a particular history and appears a new "social subjects" that demands a response from all its members, makes Mta. then take a different position than the traditional clinical role to assume a new dimension to his activity as a subject of culture, will be closely involved with the reality you want to transform, and in which it is immersed ....

Conclusions: GS Just as we were 15 years ago by proposing looks music therapists, concepts and methodologies for clinical treatment .... and for that we did conferences, publications, lectures in the associations, etc. Today, the new is to look at what social, and feel part of the larger community or village and small community-the community as subject and object of intervention, says Claudia Mendoza, gives us the pattern of a new period of the profession. Hearing this happens to us and personally taking a certain position.
also implies that we meet and absences, lack of production or theoretical, or ignorance of what is produced by the next door and did not know .... The goal is this: find us to strengthen the development of a new professional field. Build a research, participatory methodologies of action research. For as clinical music therapy was nurtured by the psychology, this new practice, this new approach will link with the social sciences (anthropology, sociology ...) related to the subject community. Key elements for developing
community: "Since the membership of the Community area Mt seeks to generate participation, organization, personal record (no subject) cultural identity in dialogue with cultural diversity, promote ecological awareness, social, political and cultural-spiritual generate space for the expression of discomfort and protests, experiences of unity and fellowship, recognition of the same song, sound, voice. synergies of solidarity, networking and community projects. " Lastly
members of the workshop highlighted: the aspect of diversity in practice as a value community partner, as each intervention works. The evolution of the discipline by this new approach. Depth knowledge of each job that is developing.
is proposed to hold the next meeting. From what everyone takes .... find the Community objectives, and listen more clear as to be recognizable there. Community
What is a philosophy and a way of life.
I'm in doubt .... between education, community prevention, specifically community ....
I'm eager to learn more.

write Stakeholders mails to join the forum if you are not yet involved.



(1) The income of the community music therapy in the field of music therapy.
The virtual forum
The First Latin American Congress of Music Therapy and Music Therapy III Encuentro Latinoamericano CLAM organized by and held at the UBA School of Medicine - Clinical Hospital of 4-5 - and 6 April 2002 was part of the first presentation public of this proposal, in the consulting space, "Music Therapy and Community." From the exchange that generates the issue at that consultancy is proposed and agreed to organize the virtual forum of community music therapy made by the participants of this event and further stakeholders. (Start date 09/05/1902)


The text accompanying the poster for the dissemination of the day on which this workshop was developed.



Preventive Therapy VII Days
"No one is saved alone, listen, we do well"

Friday 1 from 16 to 22 hours.
and Saturday October 2, 9-13 pm.

Aula Magna. Faculty of Medicine. Topics





Music Therapy Intervention and Primary Prevention Promotion of Health. Psychosocial
Diagnostic Evaluation. Work Stress prevention policy
Governments of the Province of Buenos Aires Procedures Act
Music Therapist and techniques in Preventive Therapy - Musical Presentations

Community

Open Studio Pre - Week from 14 to 16 hours. Aula 204
Theme: Music Therapists in Community Preventive approaches


Certificates will be given.
For information. Te 4 811-8519 Ms. Maria Celia Perez. Race Director
BA in Music Therapy.



Free admission
USAL. Tucumán 1845. Tucuman between Callao and Riobamba Cap.Fed.

What Else Can I Put In Wine Rack?

Reflections for Preventive Therapy Workshops-USAL

Exploring the Symposium on Preventive Therapy-USAL
I and October 2, 2004 . Ms. Claudia

Mendoza

I begin by placing the field of Socio-Community Music Therapy by taking some writings and texts in respect of various national and Latin American events that have been shared with colleagues who pass through this new field of MT.
The following text was extracted from the works:
A) Evolution of Music Therapy Clinical Practice to the Social-Community area. (UAI Conference on Preventive Therapy-USA-"Latin American Congress of MT" Year 2002 and 2004).
Title: Social Therapy, "The community-Subject and Object of Intervention"
Author: MT. Claudia Mendoza
B) Therapy and Latin American ComunidadCongreso-III Latin American Music Therapy Music Therapy Faculty of Medicine, Hospital de Clínicas UBA-April 2002Autor: MT. Claudia Banfi
C) Toward the systematization of Community Music Therapy
"Community Musicooterapia: 10 aspects of practice."
Author: MT. Gabriela Siccardi

For Reflection:
A) Social Therapy, "The community-Subject and Object of Intervention"
By: Mta. Claudia Mendoza
In Latin America, the reflections and journal articles and books on the problems of public health and alternative solutions are proposed by the Music Therapy very scarce, but we can not fail to mention as background, the valuable contribution of Ronaldo Millecco and colleagues from Brazil, (Conde, Rejane Mendes Barcelos, Negreiros, Chagas), being the country with Argentina (Pellizari, Rodriguez, Benenzon, Siccardi , Barbaresco, Vivante, Gallardo, Ruiz, Papalía, Federico, Banfi), Uruguay (Hugo, Goldfarb, Ramos, Alonso) and Cuba (Juan Fernandez) pioneered the approach to this issue ..
worth mentioning that in recent national and Latin American events of our discipline has been given prominence to the opportunities for discussion and exchange on this subject.



Preventive and Community Music Therapist: This model of action professional would be centered on the concept of positive health. "Health is seen not as the goal, but as a source of wealth of everyday life" (Ottawa Charter 1986).
Starting from the premise that many of the problems people can be resolved in the best way at the community level and that when citizens and groups come together to effectively address a problem that affects the community is a feeling of " realization "(Holtzman 1988). See bibliography of the Department of Prevention USAL.

the community as subject and object of action ...
This new dimension that takes the profession when the object of intervention ceases to be a patient, with a particular history and get a new "social subjects" that demands a response from all its members, makes Mta. then take a different position than the traditional clinical role to assume a new dimension to his activity as a subject of culture, will be closely involved with the reality you want to transform, and in which it is immersed It should be noted that there are different modes of intervention as it is a prevention project or a community sound experience.

The Community Music Therapist (MT.C) will be interested in the cultural anthropological dimension of the phenomena related to Health Encouraging community participation in reflection and sound life experiences at the group level. (Siccardi-Mendoza - Banfi "2002 Latin American Congress of Music Therapy.")

Community Music Therapy leaps that dividing line that separates or distinguishes the therapist as representative of the knowledge in the "health" to put inside the frame in which he also serves on Health.
The analysis of the results referred to his own aesthetic experience.

What is your role and how involved?
The role of MT. Community, will be will guide and facilitate the energy generated by sound or music events arising from social groups due to conflict or the emergence of social protest. There
the resulting need to do more with the sound you acquire the experience and group reflection on the importance of musical expression in cultures with a preplanned activity.

Examples: Sound-Musical Experiences Group that arise as a manifestation of social distress (eg, the banging on pots, protest music in popular assemblies, Lees Neighborhood, Squares etc.)

This mode of intervention will result in an experience participatory musical sound-refund or cultural revaluation.
Music Therapy and ComunidadPor: MT. Claudia Banfi
Reflections for the debate:
The "Community Music Therapy" desarrollla their actions and from the community, is an agent of change that serves the social pain and function colectivaSu public demonstration and performance as a role is assigned by the community, operating instead fills only make sense from the discourse community providers Unlike cultural artist or entertainer, rather than deploying their music, works to facilitate the other (community) the expression of sound, Sound organization of your message (which may be a mute)
The listener does not cut symptoms but oriented toward the desire for transformation the other (community) and seeks to serve that neighbor plural tools and devices associated with their training
Their strategy never anticipated (not prevent) but on the contrary, it is pure becoming, is reflected in the very moment social event that takes place
The design lines are the horizontal role of insertion and listening, and from the horizontal (the plain, the plot of peers, the social base) the upward vertical set of actions aimed to impact instituted some power (economic, political, generational, etc..) Thus understood, the community music therapy may be present in other areas of work (Clinical, preventive, ecological, recreational, educational) but it's good to cut its specificity within the context that the professional profile enmarcaAspectos come into play: - commitment to service, ability to relate in a responsible and committed to its role-sensitivity and acuity in the perception and registration of the other (trained ear and hear) - clarity and openness to social interaction, tolerance of diversity and multiple subjective and intersubjective level, freedom and wealth to research and build speech and instrumental sound material vocal-ductility to express and communicate bodily


Towards the systematization of Community Music Therapy Community Musicooterapia
: 10 Practical aspects of
By: Mta. Gabriela Siccardi
Community dimension in the community are complex, which is part of the music therapist. This may be a distinguishing feature as for their participation and membership is that community becomes a music therapist. Now, not every group is a community.

first scheme to build a resort community access can synthesize some specific aspects:

a framework has to be symbolic, cultural and spiritual heritage of all (language, traditions, beliefs, and desires search) For example, being a city state, such as Buenos Aires, we know that this stratum of worldview itself contains many differences. But suppose the common elements of symbolic unity. Then a plot

relational linking: the air is vital to the community, relationships, affection, trade.

Finally, what is the address, to where: the projects.


From the different experiences of community music therapy could abstract principles at least 10 goals in practice:
1. Recognition of space: auditory awareness
2. Body recognition: Centering
personal and collective dimension 3. Cultural Identity: Discovery recognition and creation of "patterns cultural "
4. Expression sound and body: The organization, form
5. Participation: The right to expression and expressiveness
6.
collective expression 7.'s voice and his songs: Pleasure to loosen the voice, song, collective expression, improvisation with lyrics.
8. The musical being of every human being: Demystifying "musical traumatic diagnoses.
9. Reflection: historicizing
10. Community Building: From I to We.


Contribution Experience in Community Music Therapy Plaza Houssay.

Percussion Workshop and Reflection.
"From Protest to Proposal"
all have something to protest, the important thing is to seek a solution at all ... (joint with the text A-positive health concept)
The invitation was addressed to the ordinary citizen, but amid the noise of the protests inscribes a space to "listen" to another. (Joint with the text C)
Slogan: Let the images and words flow ... the reasons for the protest (personal, regional, global) appears
themes: Poverty, hunger, poverty, injustice, corruption (joint with text B)
In terms of sound: sounds are heard dispersed at first, then gradually begins to glimpse the formatter, change the parameter intensity, it becomes increasingly high sound of voices, the rhythm is constant and repetitive, as saying the state of anger (blows) the attitude is tensile body, hands and faces. Formant
: Noise.
From the "issues" of the protest seems to follow a question to think about:
are they not perhaps the same victims of social chaos, who are at higher risk of disease? ("Weeping and gnashing of teeth" ... biblical text)
Social Stress and Support Systems: Since the 70's has recognized the notion that people who live alone or have few contacts and support networks have more risk for illness or deterioration and poor outcome of chronic diseases, stressing the importance of social support on the basis of the idea that a person's bonds with family, friends, neighbors, coworkers etc. can be a source of affection, resources and support. So that those ties have a buffering function to the stresses of life and protect the social impact that stress has on health. (Caplan 1980).
"The collective social protest makes us feel strong ..."
(read literature on resilience, coping resources).
collective expression that comes from listening to the sound group produces a change in the form sound product, begins to reason ... to modify aspects related to timing, there is a "common rhythm that supports diversity" there is more variety of sounds by the inclusion of melodic instruments (guitar MT.Mulatero MT. Siccardi in flute) = Mta Statement. Community. Formant
: music and speech. Mta
Community intervention conveys the energy generated by the demonstration of sound. (See text A-function MTC)
SONORA PLOT IS BUILT BETWEEN THE SOUNDS OF ALL.
There is a fundamental passage of the coup, pure act-a word, the Musicalized as a means of expression. Metaphorize
The possibility of pain by means of sounds, music and words.
arise partnerships, and raising awareness of an experience "as if" which highlights aspects of the everyday struggle and man's historical time. (See Text C "Ten points)
Topics: The ancestral cultures primitive mode of expression in the midst of oppression., Slavery released by the drums, the ban on the phrase, "Silence is health? dictatorship, the gag to protest, the complicit silence.

In the final question would be interested in making an experience like this again?
affirmative answer, confirming the importance to create spaces where
"re-create reality."
Find a way to express both individual and collective.
Play the hidden message in audible signs of unrest.
express-express (and "sing" penalties).
finally become a humane society.

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Presentation of Community Music Therapy Forum

PREVENTIVE THERAPY DAY.
USAL Organization Chair of Music Therapy in the Prevention of USAL
October 17, 2003



Community Music Therapy Forum. Perspectives on this construction


Claudia Mendoza y Gabriela Siccardi

Dear Friends, appreciate this opportunity to extend this development. A scope of practice of music therapy is included in the social area.
Indeed, the route of this experience starts from the emergency itself from the events of 19 and 20 December 2001, but we know it emerges that he was already taking shape, forming, seeking ...
The experience came to the meeting and then was the choice of the name "community music therapy." Could have been another: social music therapy, music therapy anthropological, cultural music therapy, etnomusicoterapia, popular music therapy ,.... However, the word community was brought together the most suitable properties for this proposal.
Community is not given, or a separate conceptual idea of \u200b\u200bthe action. Community is a living community, build community, build community. From this definition, the music therapist intervenes, from its broad membership, from its own history and memory, since its interrelation with others, from their specific professional. Perhaps these interventions and experiences can be shared with cultural leaders, cultural promoters, anthropologists, sociologists, etc..

respect to the generation of this concept have not yet gone through a journey that can close a definition. If it was a whim or an invention, this term would not have resonated in the field of nursing. Today we hear proposals for music therapy in university and community partnerships. We

to the forum topic:
virtual forum arises in the context of Latin American Music Therapy Congress in April 2002 where a space plasma exchange and reflection called Music Therapy and Community. We presented
music therapy experiences in slums, in neighborhood assemblies, we were colleagues in the country and Brazil, but we can also remember that in 98 in Uruguay met under the theme music therapy and community.


We note that there is a constitution first time virtual forum that responds to the joint decision of all present continue discussing and sharing ideas and experiences.


Forum, from the Latin "forum", refers to the square where it was in Rome on public affairs, also place where the courts try the cases, case law, the legal profession and judiciary, in theater, upstage.

When invited to participate in the forum said: "With great enthusiasm we are inaugurating this Space Network and Community Music Therapy, I think that would be interesting, necessary and enjoyable to share between us, the challenge that we face a new field of action and research Music Therapy. In short, we are starting a network that can have its moments of real encounter, perhaps with meetings, or a day when we have goals and evaluate material, share their needs, proposals, articles, questions .... we will among all I send a greeting fraternoGabriela Siccardi

regard to objectives: one initial communication
we told them we set a double challenge:
one hand, the new field of action and research in Community Music Therapy: community action, health promotion proposals, the role of Matt as an agent of change in the community. .... entire building.
other hand, the possibility of communicating with people living far and near, and to network, as specific needs and will guide the search for a text a professional or specialty, as well as a proposed topic for discussion. Create new links and ties, a Community Music Therapy. We subscribe

27 members initiated the contact. then others were added around the country and abroad. STAGES



At this early stage the issues that were circulating were varied, driven by the imagery that each had in relation to that common area, invitations to concerts, workshops, festivals, solidarity, solidarity orders, political events, social and religious Community music therapy and specific (percussion workshop and reflection, and 25 May Fuba)
This mode only gave rise to the information but not to exchange and network assembly as invited at the beginning. Nor could discuss and think from a community practice music therapy.
Since moderation is suggested to start the dialogue about community building. But there is little echo of the invitation.
However, some members begin to come forward and tell their experiences in the field. Call this step: opening the dialogue.
international political context brings to the fore the issues relevant to the forum, such as solidarity, the No War, marches and demonstrations against the invasion of Iraq.

After 7 months on the road suggests an assessment moderation on the operation of the forum, topics of interest and manners.
to "listen" and modify styles, calls, virtual obstacles, etc. It is important to the return of the partners involved in this evaluation. It was like an echo of interest and function evaluation. (Transparencies)


In this last stage (25/03/2003) affects the status of future regulation of the practice of music therapy, that from the information provided by the moderator generate a space for discussion, opinion exchange , discussion, interest others to join (subscriptions doubles). Generated active proposals for action. Also you start thinking texts or proposals from colleagues, from the community field and preventive. There is a joint editorial effort at the invitation of the Chair of Usal. prevention.


Currently the forum is dynamic, has led the way for dialogue and relations has shifted towards independence although there are still problems to solve collective decisions.

Conclusions: We believe this network of 18 months, allows us to meet with our common interests and also put into play the differences (sometimes when you hear the silence), to accompany the practice difficult situations, with specific information sharing or not but according to the system is relevant to the disclosure. With the challenge and question, to do together, thinking, specific actions and community music therapy professional community. Fundamentally it is a place of openness to new developments, research, epistemology, and community building.

take this opportunity to those who wish to join can do so at: musicoterapia_comunitaria-subscribe@gruposyahoo.com.ar

Thanks to this house, especially Celia Maria Perez, Ricardo Rodriguez Patricia Pellizzari and the ability to continue to provide this space. Claudia Mendoza also with whom we make this look on our first steps.

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10 aspects of practice

Towards a systematization of community music therapy
10 aspects of practice

Mt Maria Gabriela Siccardi

The invitation to develop an approach to community music therapy means for me to rethink the practice.
A speech is action, discourse, movement and announcement in the language. Place where it is said, delimitation of space, a territory in a field. An election.

In the field of music therapy at the time can tell, the music therapy clinic, preventive and community. In the Community dimension
find the complex community, the music therapist is a part. This may be a distinguishing feature as for their participation and membership is that community becomes a music therapist. Now, not every group is a community.

first scheme to build a resort community access can synthesize some specific aspects:

a framework must be symbolic, cultural and spiritual heritage of all (language, traditions, beliefs, pursuits, and desires). For example, being a city state, such as Buenos Aires, we know that the worldview is to discover and contains many differences. But practice shows that there are common elements of symbolic unity.

Then a relational frame - link: it is the vital air of the community, relationships, affects, interpersonal exchanges.

Finally, what is the address, to where: the projects.

From the different experiences of community music therapy could abstract at least 10 objective aspects of practice:
1. Recognition of space awareness through hearing
2. Recognition by the concentration body personal and the collective dimension
3. Cultural Identity: Discovery, recognition and creation of "patterns and / or cultural traits"
4. The sound and body expression: The organization, form
5. Participation: The right to expression and expressiveness
6. Collective expression: breaking the social isolation
7. Vocal energy: The voice and his songs, pleasure by releasing the voice, song, collective singing, vocal improvisation and lyrics.
8. Being musical: Demystifying "musical traumatic diagnoses." The meeting with the Homo musicae
9. Reflection: Historicizing and Awareness
10. Community Building: From I to We

auditory awareness
1. Recognition of the sound space of the here and now

This goal translates into an initial activity, is the first step in starting any experience, is to get to hear where we are. Open our senses, hearing, sight, skin. Hear the nearby sounds that make up a soundscape. How we receive it. Distinguish own location in space through the reference direction, intensity, timbre etc. which gives us the auditory perception. As a second registration and subsequent approval by the purpose of the practice being performed, will focus on the sounds coming from the body - vital rhythms. 2 .-

personal and collective Contact

perceptual After preparation, takes care to contact a centering of the body. Location vertical and horizontal axis, top-down dimensions (heaven-earth) lead to a comfortable position. Support. Breath, breath, sound. Sound space itself and that of others. Cultural identity



3 - Discovery and creation of patterns and / or cultural features

We have two techniques that characterized so far the community music therapy interventions to promote this objective: namely the collective improvisations and song.
In making individual and collective improvisations can recognize rhythmic patterns, melodic. Turn gives rise to the pregnancy from others, the here and now, emerging from the situation. That would be the case Creating new patterns of identity of this community
This experience full of uniqueness and its many resonances form a whole which is experienced by all as a place of belonging and unity. We refer here to the tribal experience, or traditional communities, which is part of our archetypes, a common memory. This connectedness is also sound and music of the unconscious to unconscious (Jung's collective unconscious).

should then ask what are the experiences that lead to urban man to this dimension, ancient and essential? The experience required of an experience, and learning from it, not mechanical repetition. When
government offices encourage the art dealing with the author there is no room for the expressive and communicative body, for a culture of a people in which case the collective experience is emotional and symbolic resonance. Then a voice, "sound ID" can be singular "I" and in turn essentially "other"
The proposed Community music therapy for our urban popular culture is an invitation to the integration of different subjects that it juxtaposed live (pre-modern, modern, postmodern).


sound and body expression:
4 .- The organization, form

In these experiences we can pass the chaos the shape of the irregular to regular, impulsive than the expressive.
The form is a temporal-spatial organization, visual and auditory. Nieztcheano language would say, maybe it is Apollonian in its development, dithyrambic in sections of its route. Cells will incorporate rhythmic or melodic and rhythmic motifs, possible overlapping harmonics, and noise surrounding the city. Everything is included and is playing with structure forma. This form returns as host to mirror the participant group. And always dynamic, the interaction makes them turn this into another form, in transit at times chaotic. It is a collective creation experience to be so limited at times recognizable structures that give identity and cohesion to "everything." Participation



5. Right to expression and expressiveness

Community Music Therapy claims the right to expression and expressiveness.
Each and every human being has a right to expression. It is a basic need, when we are born we cry is the trademark sound that opens the clock until the final silence. The expression is a sign of life. Expressiveness
would go a little further, to enter the world of the qualities of expression. And the need is a search for aesthetic pleasure Why leave it only to musicians, dancers and poets?
Each and every one of us sentient beings to the subtleties of expression, being receivers (impressions) and producers (expressions). Move passive consumer site that is posed to the mass media and "return" to the matches live where there is a place to say and be heard. Provide a place, occupy a place.


collective expression
6 - Pleasure for the collective expression
We are in a sensitive and expressive definition of man, that man is linked to others with uppercase and lowercase. The other is in relation to the law, the father (J. Lacan) the sacred, M. Eliade. In the series with lower order pairs, brothers. Wonder if already incorporated
matriarchy and patriarchy will be able to establish a phratriarchos. A time of brothers who built horizontally a possible arrangement. Otherwise. This emerging form of bottom-up (as opposed to authoritarian, top-down, paternalistic) moves along the horizontal and vertical axis helical mode, natural structure present in the DNA strand in the snail, the birth of the leaves, the life.
Can you imagine a spiraling government? We need a training group gladly productions (which are dangerous to despotic whims and vain of me)
back, the music therapist is a facilitator who organizes and provides guidance for the ritual, but not the "Shaman" traditional. The music therapist knows the power and uses it to promote the ceremony, guide, inspire confidence, enthusiasm to participate, disinhibiting, listen and give rise to the smallest. Perhaps these are characteristics of a shaman century.
And why insist on the figure of the shaman? maybe I can be irritating to the scientific model of music therapy. It is not my intention.
There is a very valuable anthropological point is the original experience of music therapy. But its findings scientism and positivism and mechanistic limitations has been, paradoxically, to believe that these practices are not valid, and no sense.
In truth, we do a transpolación Cham ethnic group here and now, rather this formulation is to regain a sense of communion with the full expression, body, sound, music, word. Note that we Westerners, we appoint the body, sound and music, when the indigenous people simply say the name of the ceremony, because in the indigenous communities of the past and present (although increasingly less) have a common worldview all . The shaman is the healer, which communicates with the world above and / or below ground who speak the language of the gods, who sings to the spirits, entities and thus invisible cure.
We are located in a context of high cultural diversity, children of first generation immigrants in the country, Indians, mestizos and current immigrants. It is like a Babel.
The music therapist holds no power like the shaman (who can give life and remove it) simply awareness (called) and mobilizing those ritual communication patterns, but giving rise to the expression and power of the words of others, without hiding differences, "a shaman democratic?

's voice and his songs
7. Pleasure by releasing the voice, the song, the collective expression, improvisation with lyrics.

Voice. Sound body that runs the individual singing melodies, aphonic holes, the cry ... and also joins others in a collective and communal singing. Personal sound recording and other song is a right for all, not for the privileged.

Singing is an expression "natural", but our society inhibits spontaneous and free. Singing is an activity that stimulates multiple physiological functions: cognitive, emotional, communication, identity, sound, entertainment, etc. The singing group acts as an energizing stimulus. The choir, many voices - music.
Also in these experiments, the energy level, as well as the time passes and the power unit is another explosion, screams, chaos, (point top of the curve) that precedes a final silence (festival, vocal applause.)
Finally, the voice in support of the word also appears in the improvisation of letters in the spoken word of reflection.


The musical being of every human being

8. Demystifying the "musical traumatic diagnoses"
When children have told us: "do not serve for music, you're a dog, out of tune! etc. "organizing a mandate:" Do not sing. "As a result of the blockade of music, many humans do not have access to the experience pleasant and ancient song. Remember, the singing is genuine musical expression along with accompaniments rhythmic body.

Repair, rearrange, rehabilitate ... give signals to guide to that other "non musical" a musical life experience, to feel that it is possible to express themselves with the voice as an instrument, thwarting those phrases that inhibited his being musical. Community music therapy questions the validity of those judgments because one of its principles are based on the premise: We are all musical beings

Ma'mur Bâ Let's hear a contemporary shaman tradition Fulani, Senegal:

"We use the whole expression body as a language. To own breathing serves as punctuation, as well as vowel sounds. All sounds are with us from birth, we use for communication in Africa. That gives wealth, better life, even the detuned voices are as important as the tune, because the cause dissonances dissonant voices, rich texture, color and active given the energy to inspire others who come after. "
Then
Community music therapy promotes a state of personal and collective musical emotion.
The collective voice with the voice, instruments and enable the body to more "traumatized" because now the experience has been pleasant as possible and turn. This impact is at personal but collective resonance.


Reflection
9. Historicizing and identity

If we go through each of these points, we can conclude that music therapy is to propose an anthropological aspect, etnomusicoterapéutica, or just cultural. Emerges as a response to social novelty such as neighborhood assemblies, after the milestone of 19 and 20 December 2001 in Argentina.
What is new, is democratizing. It is participatory, it is creative, this search for identity in cultural diversity is part of Community Music Therapy. Therefore, as experiences in the context of the proposal allows, open space to reflect on what happened in terms of sounds, rhythms, improvisations and songs. Well arise associations and personal comments, common and different socio-historical. For example, in one of the experiences (percussion workshop and reflection) the main theme was slavery and guess what? the sound experience was in a public place, a plaza, a Sunday, in a circle, as did the black slaves in the eighteenth and early nineteenth centuries.

Lead to the floor serves the community to meet. You may also be time for new proposals or projects. Express discomfort. The look at the source of the problem leads us to consider a common history of people, the office of the memory. Community Building


10. From me to us

ethics is a formulation to address the practice of Community Music Therapy. Impact on the mode of coordination by the music therapist, of belonging to a community but above all try to install a ritual experience that leaves mark on us who we are, fratriarcal dimension (say religions subsidiary)
us from living ceremonial , from the pleasure of a harmonic energy with their shapes, with chaotic nodes. Us with the melodies and voices that make up this time as an opportunity for change and personal and social transformation. We
and frustrations, the silences, the dimension as possible. We in the pulse
that reveal the simple beauty and everyday, accessible without money. An Exercise infinite
to limit the whims of the ego, of authoritarianism and lead to a common unity, of all others in us.

"sing our new song?

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INSERTS OF MUSIC THERAPY IN THE FIELD COMMUNITY

by: ASAM. Community Action Commission. First Day of Therapy: Update on Music Therapy, Theory and method. School of Psychology, UBA, Buenos Aires, 2007. Authors: Mariana Demkura, Sebastian Alfonso, Cecilia Island, Gabriel Abramovici, Romina Morello.


The inclusion of music therapy at the community level from a positive health perspective, requires a reworking of their conceptualizations and instrumental developments. This paper aims to open questions about it from the experience of a team. Introduction

One area of \u200b\u200bconcern of music therapists trained to intervene at all levels of health care is related to the community. The information accessed by a music therapist about this field is insufficient.
Our tour takes us to meet different needs for professional development, promoting a space of exchange that resulted in the formation of a task force to investigate the community practice that conforms to the Argentina Association for Music Therapy and Community Action Commission.
questions were emerging, many of which continue today asking: How to work at the community level? What are the community areas in which they could develop positive health actions? How do you think of the music therapist's role in community work in health?
To answer some of these questions turn to the development of music therapy and other disciplines on community health interventions. Open research areas literature and training with experienced professionals in the field: Antonio Lapalma, Enrique Saforcada, Daniela Gonzalez, Leah Alixjunco, Patricia Pellizzari, Karina Ferrari.
also conducted several field experiences, which allowed us to test some assumptions that we have been building and that led to new questions.
Some of these projects: DINING La Escuelita


Community Dining Developed at La Escuelita, the Lugano Villa 20 City of Buenos Aires, space framed within the Labour Movement for Humble, in 2004. Workshops were held to promote child health through musical experiences. Were carried actions aimed at the joint tasks with the other dining areas: school support activities, popular education, art workshops, workshops and discussion circles and Health Action (a group of reflection and action for women) and a space law and legal advice. In parallel we performed a recognition and diagnosis of the children in the room, trying to generate in terms of potential applications in clinical care space. In late 2004 decision to close the project by many factors related to safety, the internal organization of the room and the organization of the Commission.

DRAFT spoon in VIA.
In operation since 2006. Developed in the settlement of Warnes and Jorge Newbery (who call it "The Way"), in the City of Buenos Aires in conjunction with the Assembly of Paternal generate a picnic on the spoon (space occupied by the Assembly) that later - to lose this space, he moved directly to the settlement and is currently held by parents. Develop artistic and recreational workshops with children. The health promotion goals were related to listening, expression and experimentation of forms of relationship different from the usual. Gradually the parents were involved in the project, through ongoing dialogue, legitimate part of our objectives and reformulate others.

ALVAREZ PROJECT.
In operation since 2006 in the town of Francisco Alvarez, Buenos Aires Province. It works in conjunction with "The Table" consensus that gathers various social enterprises, cultural, productive and health. In this framework, developing a project with the coordinators of the Cultural Center Irie, a group of young people who belong to the youth movement that brings together students from public and private schools in the area. By way of technical cooperation and technology through music therapy, workshops are held with the coordinators to strengthen the objectives, purposes and actions of this enterprise.

MUSICAL SOUND WORKSHOP FOR TEACHERS
currently in operation. From theoretical spaces, this team developed Community This project provides public and private educational institutions of all levels to work with teachers to identify, expression and processing capabilities daily problems life in the classroom through the musical experience.

PROJECT COORDINATORS MEETING WITH MUSICAL COMMUNITY ORGANIZATIONS
In response to questions that arise from our community outreach, presentation and offering of our work, lack and recognition of our doing, we are working on the design of this project.
This presentation will take a tour of some conceptualizations of community practice and experience of the Commission. Pass by fundamental concepts of this perspective, practical experiences that opened to questions on these concepts, examples in specific situations and questions that are generated in the current state of this team hoping to discuss, problematise and build you outlook this field. Concept of Health

Before you begin to tell you about the practices we have done since the Commission Community Action, we find it necessary to clarify a key point: what do we mean by health?. The way we understand health will determine how we are going to add in the practice of music therapy. Health
understand a complex process, inevitably linked to the process of life. Health, from a positive holistic and comprehensive vision, refers not only to the absence of disease, but the development of human potential. The man is treated as an entity bio-psycho-socio-cultural, crossed by numerous environmental factors: psycho-socio-cultural, physical, chemical and economic-political (Saforcada, 1998).
Health is a product of interaction between people and their environments. Then becomes essential for the promotion of health, the task of promoting linkages and interaction in a community. We believe that participation and community organization are processes of health, and that these processes have as their ultimate goal the transformation of the social environment. Maritza Montero
Community
defines community as "... a group in constant transformation and evolution in inter (...) generates a sense of belonging and social identity, using its members as a group self-consciousness, and potential to strengthen as a unit social ... " (Montero, 2004). Background
in Community Music Therapy Argentina
Currently, we can recognize various forms of intervention in the context of community. The difference we found between the lines of work is the active participation of the community in the design, implementation and evaluation, together with the technical team.
􀂃 An arrangement aimed to identify risk factors and promote healthy traits of a group / s through musical experiences. The community does not

part of the design and evaluation. This level is generally linked to the Concept of Preventive Therapy.
􀂃 An arrangement in which the music therapist is part of the community involved right from citizen and works with technical knowledge (which lies horizontally with other knowledge) in the community through processes. The calls and protest actions unfold through music, working on sound manifestations of social groups on their experiences and reflections on the importance of these cultural expressions. At this level, the community is subject and object of the intervention.
􀂃 An arrangement in which the music therapist is inserted as an external agent in a community. Not a member, is about collaborating to work together with scientific-technical. Its function is to facilitate processes and self fortalecimiento1. In conjunction with the community identify needs and develop strategies for moving forward a process of change and transformation, from a critical perspective.

This third form of integration, in which the music therapist works as an external agent is the one we explored in our practices. We
Methodology
method proposed by Montero (2006) in Community Psychology and the approach proposed by Lapalma (2001) and Planned Change Strategy.
In each of the stages use different techniques according to the research objectives, designed to meet the needs of the community.
The starting point of the method is the knowledge of the community (familiarization) followed by the process of identifying needs. The main steps are:
1 The concept of strengthening, since the criterion of Community Psychology, refers to an achievement of thought, conscience and action of those interested, a deposit made to transform an environment, transforming themselves. (Montero, 2003)

FAMILIAR WITH THE COMMUNITY: ALVAREZ
The draft was a gradual involvement, sharing the activities which developed the community to agree on a work proposal.
familiarity in the little school was starting to offer a workshop proposal for children, contacting the leaders or community reference (Key informants from the community).
we move into the spoon with an earlier project developed by the Assembly of Paternal worked, to say the least, as an excuse to meet and address a joint work. IDENTIFICATION OF NEEDS
MADE WITH THE COMMUNITY:
in Alvarez was attempted through workshops with participants from the organization of the Cultural Center Irie. From meetings with members of the Cultural Centre and collect information on each workshop goal was raised to work. Of these meetings would come the most immediate needs for the Cultural Center to grow in its operation. Some of the needs that emerged were among others: a) be disclosed to the neighborhood, b) that all shops were of equal importance, c) that can be maintained over time, to multiply the experience of Irie in another neighborhood. The project
The spoon is tried to find community needs, through dialogue with parents. This stage did not develop in depth.
MEETINGS WITH LEADERS AND MEMBERS OF THE COMMUNITY.
in the little school worked together with outside of the community and the projects that were developed there, to think about common goals, events that strengthen the dining needs of the workshops, being difficult to engage the internal agents community hub fundamental approach.
In ALVAREZ this point was not reached full raise. After the needs assessment period, meetings were held with community leaders (Irie Cultural Center) to provide technical cooperation space for the strengthening of the workshops that are carried out in the center and the presence of the Cultural Center in the neighborhood, thinking of working long-term objectives related to the multiplication of the experience. Cultural Center of the experience made after he suffered a series of changes, some shops have ceased to be produced, the project coordinators had expectations and not knowing how to conduct an organized manner. Currently we contact with this community, trying to carry out this stage of labor. There is a clear intention of greater organization.
The next steps were not even busy in any of the projects. This is due in part to the times of a community are sometimes slow. On the other hand may have to do with tools and we lack experience in this field, while we're relatively alone. It is essential that the technical team is interdisciplinary and is composed of different professionals (sociologists, anthropologists, doctors, psychologists). The reality of the community is very complex and can not approach it only from our discipline. Stayed pending the following steps:
􀂃 Targeting specific short and long term. 􀂃
Division of tasks to accomplish them. 􀂃
Collective work. 􀂃
Evaluation of achievements and difficulties.

Music Therapist RESOURCES IN THE FIELD OF COMMUNITY
Our specific resource, the music is a form of expression that gives meaning to human life, through a non-referential and polysemantic (Even Ruud, 1998). Music is a human construction forming, transferring and transforming of culture. It is an excellent way to energize when the interpersonal and increasing participation.
Community Approaches in Music Therapy involving a revaluation of certain forms historically discarded sound discipline,
are being conducted in areas other than clinical setting (eg spontaneous demonstrations as cacerolazo, festivals, clubs, music space community meeting)
regard to knowledge of the music therapist , like all academic knowledge, is located horizontally with respect to the other knowledge of the community. This means that we do not force the action to display the musical action. Much of the time we deal with knowledge of another kind: namely artistic community, political, intuitive, etc. Specific interventions arise
sometimes demand community:
􀂃 In ALVAREZ develop an intervention from the application of the coordinators of IRIE Cultural Center, who are part of the larger project of THE TABLE. The members of this community is interested in working together from a number of assumptions, which are transformed into demands, they had about our doing, so we designed an intervention strategy to generate knowledge about our discipline and our potential contribution and work on the identification and delineation of a possible path to walk together.
Other times, interventions arising from the reading of an emerging topic, may be addressed from the musical experience 􀂃 The picnic
BUCKET did a workshop for building instruments from recycled materials, because we observed that recycling is part of the idiosyncrasy of the community in the settlement of the road with whom we were working.
also in the ladle, the musical experiences were present, not only in musical activities with children specifically, but in many other instances of the project. Involved with music in the cultural variety shows of the spoon, at meetings of the assembly and the call for the picnic, during which we track an impromptu music and juggling, to establish first dialogue with the community. On the way there and back, the way to the doghouse,
sing different songs to keep us together, attentive, organized to cross the street safely.

MUSICAL EXPERIENCE AS A REFLECTIVE DO
But what is the specific knowledge of the music therapist? What it can bring a music therapist as a health worker in a process of transformation of the community?
Considering that central to our doing and in this building that we are developing is the idea of \u200b\u200baction to promote changes or changes the music experience is necessarily the people involved in a do in a process. Participating in music therapy experience leads to action.
The tool is not only what you can coordinate the music therapist but the possibility of transforming a musical act in musical experience, thinking musical experience as a make thoughtful, from the perspective of Maturana. A reflective requires a distinction to the action, a recognition, a power to say what I'm doing. "Experience is what happens to us asking distinguished by what happens to us (...) If we do not ask how we do what we do, nothing happens, keep doing what we do as if we had the ability to do what we do as an intrinsic property. But if we ask 'how we do what we do ', we open a space for reflection. "(Maturana, 2000)
musical experience can be the starting point for the period of community outreach (eg BUCKET Project, calls were made musical as approaches to the community), or to reflect on the problems of the community (ALVAREZ musical experiences were developed aimed at identifying problems). On the other hand, the development of musical experiences framed in projects (workshops, presentations in festivals, meetings, dances, assembly of street musicians, orchestras, choirs, etc.).

may be a way to work problems community to define, together with the technical team.
In ALVAREZ, for example, working with music experiences imaginaria2 radio technology, but aimed at the history of the Cultural Center Irie, allowed the coordinator of the Cultural Center to build a story line where acknowledged in the same building process .
musical experience, while the creative process, involves "... look for something in particular, identify problems and challenges, explore alternatives and options, using all available resources, experience what works best to solve problems, choose which option is best favorable and organize all the decisions in a resulting product is significant. In music therapy the musical problem solving process is designed similarly to the process of solving problems of life, and it is considered that the skills acquired to find musical solutions are generalized to the situations of life. "(K. Bruscia, 1997) . Hence the importance of musical experiences to develop community capacity related to self-management, empowerment and transformation.

problematize doubts and questions arise all the time. Problematization is to discipline, building a position in the Community level. So we were questions about:
􀂃 Self-management: What musical tools that promote a community be involved in different stages of the process? How to intervene without imposing our communities know? How to work the store of knowledge that the community does for us? (In Alvarez was a constant topic of supervision, the deposition of the community in our knowledge and
2 Technique musical-verbal therapy Millecco taken restated to the frame. In this technique, traditionally offers the client / patient daydreaming or significant or reliving traumatic, imagine a nearby radio playing certain songs. It will fit, then the client / patient identification. We use this proposal, focusing on significant moments in the history of the organization and the inclusion of the people in it.

in our supposed possibilities to solve "everything." Throughout the experience, develop strategies to reach to find together the way of resolving these situations.)
􀂃 How to finance the projects with no change in substance to justify such funding and taking into account that we set as our aim to involve and organizing communities to generate social transformation.
invite you to share with us these and other concerns, to enrich the search.
Commission Community Action *
* The Community Action Committee formed in 2003 as an area of \u200b\u200bthe Argentina Association of Music Therapy to develop activities in the community health area. Sustained from an ethical perspective, since the formation of a team, from training, from the supervision of experienced professionals in the field, from research and evaluation. Composed of professionals and advanced students of different houses of study, developed the Community Action Commission tasks in two areas: the theoretical training and field work
Cecilia Island (music therapist UBA), Mariana Demkura (Student Therapy UBA), Sebastian Alfonso (Student Therapy UBA), Gabriel Abramovici (Student Therapy UBA), Romina Morello (UBA Therapy student).
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