Dansk Institut for GIM Uddannelse (Danish BMGIM Training Institute) Islands Brygge 75 B - 2300 København S

The Bonny Method of Guided Imagery and Music (GIM) TRIN I d. 17 – 21 maj 2005

Tid: Fra onsdag d. 17 maj kl. 19.00 til søndag d. 21 maj kl. 16.00

Onsdag d. 17 maj kl. 19.00 – 22.00 Torsdag - søndag d. 21 maj kl. 09.00 -16.00

Sted: Psykologhuset v.Vesterport / Tårnstudiet 5. sal – Vesterbrogade 40

Pris: kr. 4500,00

Undervisere: Musikterapeut og GIM træner, Ph.d. Torben Moe og psyk. sygeplejerske, GIM terapeut Agnete Birktoft, samt evt. en gæsteforelæser.

Efter tilmelding fremsendes pr. mail uddannelsesmanual for trin I (ca. 50 sider)

Betaling: Postgiro: BG Bank Reg. Nr. 1551 - konto nr. 341-0846 SWIFT kode: DABADKKK IBAN Nr. DK8930000003410846 Betalingsbetingelser: senest 1 maj 2005

Ved afbud refunderes 50 % af kursusafgiften.

Præliminært Program

Onsdag d. 17/05 Torsdag d. 18/5 Fredag d. 19/5 Lørdag d. 20/5 Søndag d. 21/5

View of GIM level I training.

1. Introductory Concepts of GIM

Definition of GIM BMGIM, originated by Helen Bonny, has during the time of its existence been defined in several ways, in order to try to express the essence of the method. The Bonny Method of GIM (BMGIM) is a receptive music psychotherapeutic method. Clark and Mardis (1992) defines GIM as "a music-centred transformational therapy which uses specifically programmed classical music to stimulate and sustain a dynamic unfolding of inner experiences, in support of physical, psychological and spiritual wholeness". In my view this includes the most important elements of The Bonny Method of GIM. (BMGIM) GIM can also be explained as a music-centred exploration of consciousness, and seen as synergetic process in which the client listens to selected classical music in an altered state of consciousness, and during the listening, in dialog with the therapist, express her/his inner life. Listening to the music in ASC enables the client the possibilities to travel from a normal ego state, to aesthetic and psychodynamic dimensions and further into archetypal and transpersonal realms. Helen Bonny visualizes this process in the cut log diagram. (Bonny 1978b).

History and philosophy of GIM History includes: * Helens Bonny’s background, and information about her PhD. - her work at the Maryland Psychiatric Research Centre. * Information about Helen Bonny book: ”Music and your Mind” in a historical view. (Bonny 1990) The early organisation of GIM and the GIM training programs. A historical view – GIM then and now based on Helens article ”Twenty-one years later: A GIM Update”. (Music Therapy Perspectives, vol. 12, 1994). * Developments of the organisation, orientation about training programs and AMI.

Philosophy includes: The ASC basic influence on GIM. Background information about inspiration sources including: Leuner (Guided Affective Imagination ), influence from Rogers (client centred therapy), Maslow (peak experience, humanistic psychology), Assagioli (Psycho synthesis), Jung (active imagination) and Grof (transpersonal aspects) * GIM placed at the therapeutically ”map”. GIM and other music therapeutically methods and intervention models. Short information about transpersonal theory and psycho dynamical theory.

Current theory, applications and contraindications Includes: * View of Helens ”cut log” model, connected to different levels of experience. * Elements from Fran Goldbergs article ”Images of emotion; the role of emotion in GIM”. (AMI Journal vol. 1, 1992). Who is GIM fore? A view of which areas GIM is used mostly, and the purpose/goals of the therapy. Indications and contraindications. Who is GIM not fore? A presentation of the model ”music containers in GIM” which visualize the use of GIM to different publications/clients. * GIM as group therapy

II. Elements of GIM

A: Guiding Who should serve as a guide? Basic information about the guides role and responsibility. The guide as emphatic witness/with traveller, but also the one with one leg in normal reality. Elements from Helens 1. Monograph ”Facilitating the GIM process, part: Who should serve as a guide.”(KS, Salina, 1978a). Techniques: probing – reflecting / Amplifying – engaging

B: Imagery Nature of human condition and the role of the imagery. The psychological function of the images. A non-rational language, which seeks other ways than verbal in the brain to be expressed. Often seen basic forms of images – types of images in GIM The sensory connection to the images Images as ”telling the story on a metaphoric level” Images as defence manoeuvres Symbolism in Imagery: Archetypal/universal themes, personal associations, psychological correlates, life metaphors Philosophy on interpretations

C: Music and music programs Information about the GIM music programs. (Elements from Bonny´s 2. Monograph ”The role of the taped music in GIM”.(Salina KS, 1978b) Information about the current supply of music sources Information/analyse of the basic programs, their content and idea The musical elements and their specific implications for imagery How knowledge of the music effects the guiding Music theory and analytic concepts relevant for GIM

D: States of consciousness ASC in general. Elements from Tart (1972) ”Altered State of Consciousness” Levels of ASC relevant to GIM Technical preparations for inducing ASC (environment, client preparation, wordings, pacing, transitions between suggestions, repetition i.e.)

1. Session Structure Elements and purpose of them in the session structure: Pre-session talk – Purpose: A biographical Inquiry – e.g. Indentifying information, clients present living situation, life history, clinical history, musical background, reason for seeking therapy, significant others Explain the procedure to the client, focus on what need to be explored, e.g. elicit symbolic expressions, while stimulation imagery. Find theme or direction Finding the focus of the session, Bridging into the induction part on the mat Select kind of induction/relaxation model and bridging into the focus and Select music, music choice Guiding – elements e.g. music as co-therapist, presence of the guide, pace, voice, the clients body reactions. Transcript writing Bridging into post- session. Facilitate return to here and now Postlude/processing – Allow immediate reactions to surface and elaborate Significant situations during the listening. ”Trust the process”. Connections between images – image patters Verbal, mandala or others Connections with outer life – reassurance/closure - contract

F: Inductions Introducing basic induction/relaxation models: e.g. Progressive relaxation induction, ball of light energy masage induction, tingling sensation induction. Purpose of the induction in GIM Connection between the focus and the relaxation, bridge to music G: The dyad experience Physical placing between guide and traveller The setting – placing the music source Basic guiding interventions Elements from Ken Bruscia´s ”Basic guiding interventions for GIM”, ”translated” into Danish. The working together attitude in the dyad, trust building Basic Intervention questions Physical contact between guide and traveller - defence manoeuvres from client during the listening - Transformational issues/phenomena

H: The group experience Differentials between group and dyad settings What is group GIM? (Source: Summer L.”GIM in the institutional setting”) Group listening techniques

I: Processing skills Assessment and evaluation of the session. E.g. clients comfort with ASC, the types of images (stream of consciousness, visual, sensory-kinesthetic, memories, feelings, metaphorical fantasies, transpersonal experiences, healing) Image style (speed, ease, productivity, coherence, vividness, concreteness ect.) Client’s reaction to images and the music Client’s relationship to the guide/therapist before, during and after the experience. Client centred principles – ask client to (intuitively) analyse first Modes of the therapist’s role in the processing Level of the guide’s activity – connected to the state/personality of the client Introduction of the ”open question” technique, in which the therapist are engaged without knowing the answers. Important features of the session/ healing moments/insights ect. When to introduce mandala or other techniques

J: Therapeutic process Connection between sessions, what is continued Patters, which seems to ”come back” Developments connected to the aim of the therapy, or a redefinition of the therapy purpose, according to what comes up in GIM. Stating the therapeutic effects intrapersonal (e.g. in the images) and interpersonal The client’s concreteness of understanding what is happening in the therapy process Theoretical references in understanding the events in the therapy process Contract with client Defence manoeuvres Transference and counter transference - in relation to the music, the images and the guide. Definitions and distinctions. The GIM process: What kinds of spiritual changes take place. Stages in GIM work Difference between healing and psychotherapy

III. Introduction to Standards and Practice

A: Ethics Ethics of psychotherapy and music therapy in Denmark Ethics stated by AMI

B: Standard of practice Guidelines from The Bonny Foundation concerning recommendations for continuing of work after level 1. Orientation about standards of practice for GIM fellows

Experimental content follows as a minimum the AMI training standards (revised, June 2002)