Fortolkninger af mandalaer i GIM-terapi: To fortolkningsmodeller undersøgt og sammenlignet ifm. et casestudium

Interpretations of mandalas in GIM-therapy

Hallberg, Sigrid

4. semester

Musikterapi, Kandidat

2010

2010-07-17

80

Afhandlingen er inspireret af bogen Music and Consciousness. I 1970’erne samarbejdede musikterapeut Helen Bonny og kunstterapeut Joan Kellogg på Maryland Psychiatric Research Centre. I Bonnys GIM (Guided Imagery and Music)-terapi tegnede klienter en mandala (en cirkulær tegning) efter musikrejsen. Bonny sendte mandalaen til Kellogg, som uden kendskab til klienten tolkede den og formulerede diagnoser, problemer og psykologiske temaer. Kelloggs udtalelser var meget præcise, og Bonny vurderede, at tolkningerne havde stor værdi for terapeutiske beslutninger. Hun konkluderede, at kombinationen af GIM, efterfulgt af at tegne en mandala og få en kunstterapeut til at tolke den, er virkningsfuld. Senere udviklede Kellogg en model for mandalatolkning, som flere kunstterapeuter anvender, og Susanne Fincher udviklede også en model, der på centrale punkter adskiller sig fra Kelloggs. Afhandlingen undersøger: Hvilke typer information om klienten giver Kelloggs og Finchers modeller, når mandalaer fra GIM-sessioner tolkes? Hvilke ligheder og forskelle er der, og supplerer eller modstrider de hinanden? Bekræftes Bonnys konklusion, og er Finchers model lige så effektiv i en GIM-kontekst? Studiet gentager Bonny og Kelloggs eksperiment i et kvalitativt enkeltcase-design. Klienten M havde tre GIM-sessioner og tegnede efter hver en mandala, som blev sendt til kunstterapeut og professor Michelle Takei for tolkning efter Kelloggs model. Mandalaerne blev også tolket efter Finchers model. Data fra tolkningerne blev analyseret med en metode fra Grounded Theory (systematisk, datadrevet kodning) inden for en overordnet hermeneutisk (fortolkende) tilgang. Fundene blev vurderet både klinisk og meta-teoretisk. Klinisk gav begge modeller information om Ms selvopfattelse/Selv, relationer til andre, løsrivelse fra forældre, udvikling i tænkning, forhold til egne følelser og centrale livstemaer. Derudover gav Finchers model viden om ni yderligere aspekter af Ms måde at tænke og føle på, hans bekymringer og det, han værdsætter, mens Kelloggs model gav en diagnose og information om Ms udvikling af tillid. Den forskellige information vurderes som gensidigt supplerende. Meta-teoretisk har modellerne væsentlige forskelle i deres antagelser om virkelighed og viden (ontologi og epistemologi), vidensniveau og relevans. Alligevel belyser de forskellige nuancer af klienten og giver tilsammen et bredt billede; derfor betragtes de som supplerende. Konklusion: Professor Takeis tolkninger efter Kelloggs model var meget præcise og bidrog til mere kvalificerede terapeutiske beslutninger i GIM, hvilket bekræfter Bonnys konklusion. Finchers model viste sig mindst lige så effektiv og synes mere virkningsfuld, fordi klienten inddrages i tolkningen og der er direkte verbal interaktion mellem terapeut og klient.

This thesis is inspired by the book Music and Consciousness. In the 1970s at the Maryland Psychiatric Research Center, music therapist Helen Bonny and art therapist Joan Kellogg ran an experiment: in Bonny’s Guided Imagery and Music (GIM) sessions, clients drew a mandala (a circular drawing) after the music journey. Bonny sent the mandala to Kellogg, who interpreted it without any information about the client and proposed diagnoses, problems, and psychological themes. Kellogg’s statements were very accurate, and Bonny judged these interpretations to be valuable for therapeutic decision-making. She concluded that combining GIM with drawing a mandala and having an art therapist interpret it is effective. Kellogg later developed a model for mandala interpretation, used by many art therapists, and Susanne Fincher developed another model that differs from Kellogg’s in key ways. This thesis asks: What information about the client is obtained when using Kellogg’s versus Fincher’s models to interpret mandalas from GIM sessions? What are the similarities and differences, and do they complement or contradict each other? Does Bonny’s conclusion hold, and is Fincher’s model equally effective in a GIM context? The study replicates Bonny and Kellogg’s experiment with a qualitative single-case design. One client, M, completed three GIM sessions and drew a mandala after each. The mandalas were sent to art therapist and Professor Michelle Takei for interpretation using Kellogg’s model; they were also interpreted using Fincher’s model. Data from these interpretations were analyzed with a method from Grounded Theory (systematic, data-driven coding) within an overall hermeneutic (interpretive) approach. Findings were considered both clinically and meta-theoretically. Clinically, both models provided information about M’s self-perception/Self, relationships with others, process of separating from parents, development in thinking, relationship to feelings, and key life themes. In addition, Fincher’s model offered insight into nine further aspects of M’s thinking and feeling, his concerns, and what he values, whereas Kellogg’s model provided a diagnosis and information about M’s development of trust. These different types of information are viewed as complementary. Meta-theoretically, the models differ markedly in their ontological and epistemological assumptions, the level of knowledge produced, and its relevance. Even so, they highlight different nuances and aspects of the client and, together, offer a broad understanding; thus, they are considered complementary. Conclusion: Professor Takei’s interpretations using Kellogg’s model were very precise and helped make more informed therapeutic decisions in GIM, confirming Bonny’s conclusion. Fincher’s model proved at least as effective and appears more effective because it involves the client in the interpretation and includes direct verbal interaction between therapist and client.

[Dette resumé er genereret ved hjælp af AI]

GIM-therapy ; Mandalas ; Interpretation of mandalas in therapy

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