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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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