Working within a Neurodiversity framework that favours regulation over intervention, and sharing her lived experience of being Autistic, Allison empowers others to use music as a tool for neuro-regulation at home and in the classroom.
"Our voice is one of our greatest tools for self expression, emotional release, advocacy and empowerment; yet it has been suppressed for so long that our culture firmly believes our voice should be used for cognitive based spoken communication only.
Throughout history our voices have been suppressed, silenced, limited, cancelled, mocked, questioned and ignored, and I commit to using my work as a way of dismantling the patriarchal censorship of voice, and empowering our vocal autonomy."
Allison Davies, Registered Music Therapist, lives and works on Tommeginne land, Lutruwita (Tasmania), Australia. She creates online resources for parents, educators and support staff and works with schools to deliver professional development around the topics of childhood brain development and the use of music as a regulatory tool.
Allison holds a Bachelor of Music and Bachelor of Teaching (University of New England, 2003), a Master of Music Therapy (University of Queensland, 2005) and Neurologic Music Therapy training (Academy of Neurologic Music Therapy, 2016).
She is registered with the Australian Music Therapy Association and World Federation of Music Therapy and has worked in private practice since 2007, predominantly across the areas of early childhood, adolescent mental health, youth justice, neuro-rehabilitation and aged, dementia and palliative care.
Allison is an autistic person with attention, sensory processing and executive functioning difficulties.
I openly celebrate my own Neurodivergent culture, support Neurodiversity in all its forms, welcome BIPOC, gender and sexual diversity and hold to identity and ability inclusive language. I am passionate about re-membering my sovereign voice, and supporting others to do the same.
I am passionate about dismantling the great musical myth of ‘being musical’. It is common in our culture to think of some people as musical and others as not. The ones we call musical are typically the ones whose parents could afford piano lessons, who are able-bodied in a way that allows them to play a Western instrument, who have the self efficacy to stand in front of a crowd and sing into a microphone, who express their musicality in alignment with the Western Scale (aka ‘sing in tune’). These are deeply conditioned beliefs that have led us to perpetuate the exclusivity of music and overlook the privilege in which this concept is rooted.