| Abstract | Music therapy settings are often marked by multiple power hierarchies, in which music therapists hold privileged identities in areas such as race, disability, language, and class in relation to clients who may carry multiple oppressed identities. In international service-learning settings, these dualities can be even more pronounced. As international service-learning projects market themselves to young music therapists and students, they emphasize these projects’ ability to accelerate music therapists’ advancement in the profession. However, analysis of visual and written discourse can reveal subtler and more insidious consequences of such projects, particularly in the ways they uphold colonial and ableist paradigms. In this paper, I will outline some foundational understandings regarding Indigenous studies, Disability studies, “voluntourism,” and the relevance of representation. I will then analyze publicly available photos and text from four international music therapy service-learning projects, using Actor-Network Theory to identify colonial and ableist themes. The analyses will demonstrate that these experiences align and prepare young music therapists for broader music therapy practice mainly by reinforcing music therapy’s deeply colonial and ableist foundations. Music therapy identity in these images is white, settler, nondisabled, and aligned with Western music and culture; client identity is Indigenous, colonized, Disabled, and represented without markers of local cultural resources. Beyond identity, these images reveal relational patterns that align with colonial and ableist tropes. As represented in these images and texts, music therapists purportedly give, help, act, distribute, teach, and transform, whereas clients receive, wait, accept, assimilate, and “overcome.” The representations are not merely neutral agents that reveal existing dynamics; they also perpetuate problematic notions of music therapy as an assimilative and charitable agent, enacted by active “helpers” upon passive “sufferers.” They both accentuate and perpetuate assumptions of Black and colonized people as needy or deficient, positioning Western music therapists conversely as helpful and sufficient. In analyzing and interpreting these representations, I will approach the following questions: How much does music therapist identity depend on the construction of a needy other? In representing ourselves as helpers, how do music therapists unwittingly create or emphasize deficits in clients? |
