Occupational Therapy and Arts Therapies
Permanent URI for this collectionhttps://eresearch.qmu.ac.uk/handle/20.500.12289/25
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Item Images of “gatekeeping” [Editorial](Queen Margaret University, 2024-12-23) dos Santos, Andeline; Haire, Nicky; Bolger, Lucy; Tsiris, GiorgosItem Words are delicious [Editorial](Queen Margaret University, 2023-12-22) Haire, NickyItem Experiences of music therapists sharing improvisation remotely during lockdown(2021-10) Annesley, Luke; Haire, NickyMusic therapy has faced challenges to practice during lockdown. In this reflexive study, the authors explored the creative possibilities of multi-tracking as a way of sharing improvised dialogues. This involved the creation of recorded improvised ‘prompts’, a few minutes in length, which were then ‘answered’ using audio software. Through reflections which draw on the principles of auto-ethnography, we seek to describe and explore these experiences and draw meaning from them. Both authors are improvising musicians, music therapists and music therapy educators. While the project began as a way of maintaining motivation for musical activity, affective experiences shared by the authors surfaced the need for more systematic reflection on the therapeutic and pedagogical potential of the process.Item Improvising the self(Egalitarian Publishing, 2021) Haire, NickyThis paper details an autoethnographic study through which intrapersonal and interpersonal aspects of improvisation are considered in relation to music therapy teaching and practice.Item Thinking through improvisation: How arts-based reflexivity can offer new knowing about music therapists’ experiences of humour in music therapy(University of Bergen and NORCE Norwegian Research Centre, 2021-06-29) Haire, Nicky; MacDonald, Raymond; McCaffrey, TríonaAs part of a larger research study investigating humour in music therapy with persons with dementia, this article details how music therapists perceive, embody and experience humour in their practice. Three focus groups with music therapists (N = 9) were organised and resulting data analysed through arts-based reflexive methods. Building on Schenstead’s (2012) articulation of arts-based reflexivity, two distinct and overlapping forms of thinking through improvisation are highlighted; self-reflexivity and collaborative-reflexivity. Finlay’s (2011) phenomenological lifeworld-oriented questions are used to explicate dimensions of experiences of humour and frame broad thematic reflections. Particular correspondence between improvisation as a way of being and humour in music therapy are explored performatively through a group improvisation involving the first author. The findings from this synthesis offer insight into how music therapists conceive of humour in their work as supportive of relational bonding, and also experience humour as distancing and defensive behaviour. Along with the perceived risks of humour in relational therapeutic work, an intricate balance between playfulness and professionalism surfaced as part of a music therapy identity. Improvisation, while seemingly taken for granted as a part of spontaneous humour, is also problematised through the perceived seriousness of learning how to improvise as a music therapist aligning with a psychodynamic approach. The consequences of these findings are discussed in relation to music therapy pedagogy and practice along with methodological implications of thinking through improvisation.Item Does amantadine maintain function in long-established brain injury? A single case experimental design(Taylor & Francis, 2021-10-22) FitzGerald, A.; Main, L.; McNicholl, U.; Foggo, J.; Rowney, F.; Haire, Nicky; McLean, R.Research into the role of dopamine agonist (DA) use in acquired brain injury (ABI) has primarily identified roles in restoration of consciousness and cognition in the acute or recovery phase following injury (1-5). The role of DA in later functional recovery is less well defined. We report a single case experimental design (SCED) demonstrating amantadine associated functional improvement, six years following severe TBI. Upon recruitment, the patient had been prescribed amantadine for the previous two years based on reported subjective improvement. This trial was devised as a means of justifying continued use. A scoring system was developed based on established abilities in managing of personal care and social interaction. Specific tasks were identified within which up to 7 component actions were identified, with 34 actions described in total. Each component action was graded on a ranked scale of 1 to 4 to based on quality of response to a given request, or the extent of prompting required to elicit response. Using a SCED format, actions were scored at baseline while continuing with amantadine use, and at intervals following withdrawal, and reintroduction. Daytime sleep duration was also recorded. At 3rd and 5th weeks post withdrawal, deterioration was recorded in 27 of the 34 graded activities. At 3rd and 5th weeks following reintroduction, all but 3 actions were graded at baseline or higher. Duration of afternoon sleep increased from 35 minutes to 80 minutes during the trial withdrawal period returning toward baseline on resumption of amantadine. This outcome supports a view that amantadine may have a role in sustaining long-term functional benefit following severe TBI. The model used suggests potential to use similar client specific measures of outcome in an SCED model as a template to capture change in a larger scale trial.Item Understanding how humour enables contact in music therapy relationships with persons living with dementia: A phenomenological arts-based reflexive study(Elsevier, 2021-02-24) Haire, Nicky; MacDonald, RaymondThis article details part of a phenomenological arts-based reflexive study investigating humour in music therapy with persons living with dementia. Rooted in psychosocial and relational-centred methodology, the study arose from the first author’s experience as a music therapist. As part of a larger study, three interview-encounters with persons living with dementia and their music therapists (n=8) provided opportunities for shared reflection on humour in their work. Arts-based reflexivity within a phenomenological frame was used to address the question of how humour enables contact in music therapy with persons living with dementia. Furthermore, Christopher Bollas’ (1987) concept of “aesthetic moments” is used to think into the relational and existential importance of humour in this context and explore more deeply what contact may mean. Links between methodology and topic are explored and the correspondence between humour and intersubjective experiences in music therapy is highlighted in relationships with persons living with dementia.Item Book review: Responsiveness in music therapy improvisation: A perspective inspired by Mikhail Bakhtin(British Association for Music Therapy, 2020-10-21) Haire, NickyItem Articulating process [Blog Post](2020-10-05) Haire, NickyItem Finding space to play [Blog Post](2020-05-29) Haire, Nicky