Intersectionality in the arts psychotherapies

Click to increase image sizeClick to decrease image size

Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.

Notes

¹ In my understanding, the norm being challenged is the systemic habit of putting an “−ed” onto “transgender” and “cisgender”, which transforms these adjectives into verbs that happen to people.

² These contributions are Eastwood’s chapter 6, Tsolka’s chapter, Maynard’s chapter, Collier’s chapters 7 and 12, Berman’s chapter, and Rowe’s chapter.

³ e.g., Davis (2016), Page and Woodland (2022), and Snorton (2017).

⁴ I am thinking of Garland-Thompson’s work (2011) as well as Price’s work (2021a; 2022).

⁵ I go into detail about this history in Inmon (2023).

⁶ I am thinking of the work of Scrine (2021), LaCom and Reed (2014), and the contributions of Bhatia et al. (2022), Scrine (2022), and Gilman (2022) to the CAMTI Collective’s work (2022).

Additional information

Notes on contributors

Braedyn Inmon

Braedyn Inmon (they/he), MMT, MT-BC, LPC-A, currently provides gender-affirming voicework and mental health services in so-called Connecticut, through Connecticut Music Therapy Services, LLC and Growth Therapy, LLC. Braedyn also collaborates with Maevon Gumble, MMT, MT-BC, and Kay Schachner, MMT, MT-BC, to develop Gumble’s gender-affirming voicework methodology and train/supervise music therapists in the approach.