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Scotto di Fasano,
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Psychoanalysis,
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W. Bohleber J. Deutsch
H. Halberstadt-Freud Y. Gampel
N. Janigro R.K. Papadopoulos
M. Ritter S. Varvin H.-J. Wirth
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G. Trippi
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Anno/Year: 2013
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"La Psicoanalisi. Intrecci Paesaggi
Confini"
Edited by S. Fizzarotti Selvaggi, G.Leo.
Writings by: Salomon Resnik, Mauro Mancia, Andreas Giannakoulas,
Mario Rossi Monti, Santa Fizzarotti Selvaggi, Giuseppe Leo.
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book |
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“Dynamic
forms of vitality are part of episodic memories and give life to the narratives
we create about our lives.” (Stern, 2010)
Intro
Rhythmicity
shapes us; from our mother’s heart beat to our inner pulse, from our
earliest interactions as infants to the sophisticated give and take of
adult conversation.
Contemporary psychoanalysis has now taken up the project of
embodied communication and the implicit register--how co-rhythmicity
and synchronous and dyssynchronous interactions inform the analytic
exchange (Black, 2016, Ipp, 2016, Knoblauch, 2000, 2011, 2015,
Lachmann, 2001, Nebiossi et al, 2008, Nebbiosi, 2016, Orfanos, 2016,
Sapin, 2012, Shapiro et. al, 2016).
As Nebbiosi and Federici-Nebbiosi (2008) write, “rhythm is
the element with which our body is in relation with the process.”
As a rock drummer for over 30 years, my career as a
psychotherapist developed in parallel, each identity subtly informing
the other. In
this paper, I trace my experience as a percussionist and my subsequent
clinical work with rock bands, musicians, and therapy groups.
For me, the quintessential spark in music-making and therapy is
the immersive, collaborative exchange.
With
my musical or relational partner, vitality affects give shape and
meaning to our shared dialogue.
Banging
on a Drum
In 1976, a newly minted seventh grader, I watch the senior
percussion ensemble perform at my junior high school.
The ensemble, composed of six high school boys, watch the
conductor intently, their arms and bodies swaying in beautiful
synchrony. As
Stern (2010) suggests, the time-based arts, like music and dance,
“…move us by the expressions of vitality that resonate in us”
(p. 4). As
rich marimbas, resonate tympani, and piercing snare drums reverberate
thunderously, I want to be part of this orchestrated cacophony.
I am electrified.
It is love at first sight.
Riveted by the explosive musicality, I sign up for the weekly
lessons. For
the next seven years, I study percussion, play in the concert band,
orchestra, percussion ensemble and accompany various groups on
drum-set. But,
although I love the full-body engagement of drumming, I suspect
something more complex
motivates my choice.
Six months earlier, my father’s younger brother
commits suicide.
After
my uncle’s tragic death, my father’s own latent depression emerges,
a mood disorder he will struggle with for the next four decades.
Drumming, a full-body solution to the “nameless dread” in
my family, brings raucous aliveness into my home as I find expressive
freedom and energetic release.
“Banging on a drum,” I discover, is
a potent remedy for the helplessness I experience but of which
I am dimly aware.
By the time I am fifteen, I join a punk rock band, rehearsing
at my house, my supportive mother bringing us snacks as we master the
3-cord rock n roll of the Ramones or Suzie and the Banshees.
I love our noise-making as we mimic transgressive British rock.
But, the irony does not escape me; we are amateur middle-class
musicians mimicking angsty punk rockers.
Our
sweaty, sexually charged jam sessions creates space for my emerging adolescent self.
The non-conformity is a perfect antidote to my good girl
impulses, a safe avenue to express my disinhibited side. Drumming
offers a Winnicottian transitional play space from which to explore
embodied sensuality, self-assertion and potency.
For me, playing music is a deeply interactive, social
experience—being part of something larger than myself—participating
in a shared, creative process.
The
emotional pull of “bandhood,” a bonding twinship experience, takes
hold.
While studying at Columbia University Graduate School of Social
Work, a few years later, music draws me again:
I study African drumming (djembe) and occasionally accompany
the sensual, turbo-charged African dance classes.
This peak into the mysterious world of Afro-Cuban culture is
enlivening, a welcome contrast to academic studies.
(to be continued - the whole paper will be published in a
forthcoming book of Frenis Zero publishing house) |
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References
Black, M. (2016). Making Music Together:
Discussion of Gianni Nebiossi’s paper, “The Smell of Paper,”
Psychanalytic Dialogues,
26, 17-25.
Clapton, E. “I’ve Got A Rock’n’Roll
Heart.” Money and Cigarettes. CD,
Warner Brothers.(https://www.youtube.com/watch?v=bV2tH6QP2w0&list=RDbMiBbAvsFfY&index=3&nohtml5=False)
Cornell, W. (2011). Samba, Tango, Punk:
Commentary on Paper by Steven H. Knoblauch, Psychoanalytic
Dialogues, 12, 428-436.
Cornell, W. (2016). Somatic Experiencing in Psychoanalysis and Psychotherapy. New York:
Routledge.
Ferguson, H. (2002). In
Search of Bandhood: Consultation with Original Music Groups, Group, 26 (4), 267-282.
Gordon, K. (2015). Girl
In A Band. New
York: Harpers Collins.
Ipp, H. (2016). Interweaving the Symbolic and Nonsymbolic in Therapeutic
Action: Discussion of Gianni Nebbiosi’s “The Smell of Paper,”
Psychoanalytic Dialogues, 26, 10-16.
Knoblauch, S. (2000). The
Musical Edge of Therapeutic Dialogue. New Jersey: The
Analytic Press.
Knoblauch, S. (2011). Contextualizing
Attunement Within the Polyrhythmic Weave: The Psychoanalytic
Samba, Psychoanalytic
Dialogues, 21, 414-427.
Knoblauch, S. (2015). A Culturally Constituted Subjectivity: Musicality
and Beyond: A Discussion of Three Offerings from Aron, Ralph,
and White, Psychoanalytic
Dialogues, 25, 201-207.
Lachmann, F. (2001). Chapter
14 Words and Music, Progress
in Self Psychology, 17, 167-178.
Lankford, M. (1997). Life
in Double Time: Confessions of an American Drummer.
San Francisco: Chronicle Books.
Nebbiosi, G. & Feberici-Nebbiosi, S. In:
Frances Sommer Anderson (Ed). (2008).
Bodies In Treatment.
NY: The Analytic Press, pp. 231-233.
Nebiossi, G. (2016). The
Smell of Paper: On the Usefulness of Musical Thought in
Psychoanalytic Practice, Psychoanalytic
Dialogues, 26, 1-9.
Ogden, T. (1999). ‘The
Music of What Happens’ in Poetry and Psychoanalysis, International
Journal of Psychoanalysis, 80, 979-994.
Orfanos, S. (2016). Nebbilsi’s Third: A Discussion of Gianni
Nebbiosi’s “The Smell of Paper,” Psychoanalytic
Dialogues, 26, 26-31.
Sapen, D. (2012). Freud’s
Lost Chord: Discovering Jazz in the Resonant Psyche.
London: Karnac.
Shapiro, Y., Marks-Tarlow, T., Fridman, J. (2016). Listening Beneath the
Words: Parallel Processes in Music and Psychotherapy. IJP Open,
3:21
Sheffield, R. (2007). Love
is a Mix Tape: Life and Loss, One Song at a Time.
NY: Three Rivers Press.
Sletvold, J. (2014). The Embodied
Analyst: From Freud
and Reich to relationality.
NY: Routledge.
Stern, D. N. (2010).
Forms of Vitality
Exploring Dynamic
Experience in Psychology, the Arts, Psychotherapy, and
Development. New
York: Oxford University Press.
Winnicott, D. (1971). Playing and
Reality. New York: Routledge.
Discography
Null Set: New Job (1980).
(Listen to tracks: http://citizenfreak.com/artists/100501-null-set)
Homer Erotic: Yield (1998) and Homerica the
Beautiful (1999).
(Listen to tracks on: www.youtube.com/watch?v=143Dq_t3PRY and www.cdbaby.com/cd/homererotic2)
Went: Parachute (2001).
(Listen to tracks at: www.cdbaby.com/cd/went)
Wendy Gelsanliter: I’m Hungry I Need a Band
Aid (2007). (Listen to tracks at: https://store.cdbaby.com/cd/gelsanliter3)
On Vimeo: Heather Ferguson drumming for The
Balboans, 2012 and videos on:
https://www.thebalboans.com/album
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