Music therapists are placed in emotionally demanding work environments that can impact one’s physical and emotional health. Additionally, failing to deal with occupational stress can lead to poor care quality and prevent professional growth; therefore, it is essential to develop professional resilience. One of the workplace challenges music therapists face is imposter syndrome. It is a universal phenomenon characterized by shame and insecurity regarding one’s competency. We will examine imposter syndrome’s characteristics and detrimental effects on music therapists through the lens of current research and personal reflections as a case example. We will also discuss strategies to develop professional resilience to conquer imposter syndrome, such as supervision, peer support, interdisciplinary collaboration, and self-care techniques of journaling. Emphasis will also be placed on the reconceptualization of the usage of music for therapists as a modality to achieve emotional health.
As a helping profession, music therapists often are placed in emotionally demanding environments, working with vulnerable populations. When work-related emotional stress is not dealt with effectively, it can negatively impact music therapists as individuals and professionals. Although there are different stressors and challenges that music therapists face, this presentation strives to examine imposter syndrome while discussing strategies to develop professional resilience to conquer it.
Imposter syndrome is a universal phenomenon that all music therapists have the potential to experience regardless of therapy settings, age, or culture. It is characterized by sentiments of shame and insecurity regarding one’s competency and is commonly experienced by many professionals. Research has shown that a minimum of 70% of people experience imposter syndrome at least once in their lifetime (Gravois, 2007). When left unresolved, imposter syndrome can lead to detrimental effects, including but not limited to anxiety, depression, neuroticism, and low self-esteem (Michael & Garry, 2019). It is important to note that imposter syndrome manifests differently for each individual, as it can be affected by one’s socioeconomic and cultural upbringing.
The presentation will examine the characteristics and detrimental effects of imposter syndrome on music therapists. Current research surrounding the topic will portray how imposter syndrome manifests uniquely for individuals dependent on their socioeconomic and cultural upbringings. To illustrate the examples in clinical settings, case examples of our experience of imposter syndrome as music therapists will be examined.
Moreover, discussions will also focus on strategies to cope with imposter syndrome. This includes discussions surrounding the vulnerability of supervision and interdisciplinary collaborations (Hyrkäs et al., 2006). Additionally, we aim to highlight the use of music as a modality that not only supports clients but also music therapists. This is important because music therapists may often find it difficult to rely on music as a medium to support their emotional health if they conceptualize it as professional support for clients. Finally, the participants will be given time to share their insights and coping tools to create a more diverse list of strategies to encourage them to acknowledge that there is no clear-cut way to deal with imposter syndrome. We hope that this presentation will be the first step for the participants to become aware of their potential imposter syndrome experiences and create personalized self-care strategies to develop professional resilience.
1. After participating in this session, attendees should be able to define the characteristics of imposter syndrome as well as identify their impact on their personal and professional lives. (CBMT V B 12)
2. After participating in this session, attendees should be able to utilize music to develop professional resilience. This includes the use of composition, lyric analysis, improvisation, an artifact of remembrance, attention to its inherent nature, as well as one’s personal relationship to music both in and out of sessions. (CBMT III A 2) (CBMT V A 6)
3. After participating in this session, attendees should be able to develop individualized self-care strategies that best suit their needs. (CBMT V A 1, 4-5) (CBMT V B 12, 14)
