Opening Doors (4): Section B - Facilitating others

8/18/2019 Opening Doors (4): Section B - Facilitating others

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Opening doors on creativity – Section B

Section B

Facilitating others

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AngieTitchen


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Overview

This section provides several examples of creative

facilitation methods used with roups and teams inhealthcare so that !ou can pic" up further ideasa#out methods !ou ma! want to use$ The! arepresented as mini case studies for !ou to read andre%ect on& so that !ou can extend !our "nowlede ofcreative practice$

There are four examples for wor"in with roups of various si'es(

) *isionin the future$

2 Creatin cultures of e+ectiveness$3 ,xplorin the meanin of technical and

emancipator! practice development$

4 ,valuatin creativel!$

,ach example includes a description of the purpose&outcome and "e! activities of the creative methodused& with learnin points to help !ou$ -ou can usethese examples for purposes similar to those set outhere& or as methods to adapt in an! wa! !ou wish tosuit !our own context . perhaps also incorporatinother ideas or inspiration !ou/ve ained from dointhe activities in Section A$

It will ta"e !ou a#out 20 minutes to stud! eachexample& or less time if !ou simpl! read them 1oma"e sure !ou read each one& as each example isfollowed #! additional learnin points to support !ou$There is also a short re%ective exercise on facilitations"ills so that !ou can thin" a#out the s"ills !ou #rinto facilitation and how !ou would adapt them forcreative wor"$

Throuhout this section !ou will meet the twos!m#ols explained in the Introduction to thisresource(

The #utter%! s!m#ol appears where we recommendthat !ou ma"e notes to support !our learnin$

The sun s!m#ol appears to alert !ou to thin" a#out aspecic point in the resource& as this ma! assist !our

continued learnin$

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Learning outcomes

Section B is desined to expand !our "nowledea#out creative facilitation #! providin practical

examples for !ou to stud!& uestion and re%ect on$ 5!stud!in these examples !ou will have theopportunit! to(

• develop !our understandin of how to desin andfacilitate creative processes with others and meetthe challenes involved

• learn a#out issues to focus on in relation tomanain di+erent creative activities with roups

• consider how !ou miht want to adapt or use theexamples to achieve o#ectives in !our ownwor"place settin7s8$

9eep a note#oo" with !ou and use the evaluationuidance from the Introduction 7p$68 to "eep trac" of !our thouhts& ideas and feelins as !ou stud! theexamples$

The role and style of the facilitator

In creative facilitation the role of the facilitator is to

create a supportive environment and space& whichena#les participants to ta"e the plune to #e creativethemselves$ The facilitator will #e usin a mix ofsupportive and challenin s"ills to create safet! andencourae participation #! attendin to needs& andexplainin the purpose and structure of the session$

The facilitator will move #etween #ein directive andnon:directive& #ein a participant or demonstratin&and o#servin or holdin the space as reuired$ Therole of facilitator calls on s"ills of usin udement

and intuition& rational and imainative a#ilities$ Italso reuires the a#ilit! to use courae #! role:modellin #ein in the un"nown& in a discover! frameof mind and waitin to arrive at outcomes& ratherthan focusin on predetermined aendas$ -ou need to#e comforta#le with supportin a wide rane offeelins amonst participants& which ma! includeanxiet!& excitement& pla!fulness& frustration& feelinupset and feelin delihted

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Reflective exercise (10mins)

;ave !our note#oo" to hand and ta"e a few momentsto ot down !our thouhts and feelins a#out thes"ills !ou #rin to facilitation or chane roles$1ependin on whether !ou have alread! facilitatedothers& !our "nowlede of facilitation ma! come from !our own experience as a facilitator and


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The Endpoint of each example provides theopportunit! to ma"e re%ective and evaluative notes$

The next step is to read throuh the examples with !our note#oo" to hand for comments and ideas& andto trac" !our thouhts and feelins a#out the fourexamples$ >e suest !ou use !our note#oo" as alearnin lo$ -ou ma! li"e to ma"e notes a#out whatinspires !ou from these examples and !our thouhtsa#out how !ou could use or adapt them for !our ownwor"place needs$ It will also #e useful to note an!challenes the! raise and how !ou could overcomethem if !ou decide to use or adapt the examplesiven$

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Example 1

Visioning the future: a day-long workshop to create a new strategy for the Developing

Practice Network (formerly the Practice Development Forum)

Context and purpose he Network needed to revitalise itself and engage mem!ersin a participatory strategy to create an effective future" he

day was presented as discovering the #current story$ and #new

story$ for the Network" % vision-into-action process was used

to stimulate engagement& find out views and feelings& and

release energy and ideas in a fun and energising way"

Group size %round ' people practice developers& facilitators& trainers&

nursing and allied health practitioners from primary& acute

and education settings from different regions of the *+"

Outcome % new strategy was created and committed to from the ,oint

views and ideas of the ' people attending the session"

Time am'".pm including lunch and tea !reaks"

Materials/resources here were:

/ a lot of felt-tip pens and crayons

/ two flipchart easels with pads and marker pens

/ a large room with chairs around the sides

/ two co-facilitators"

Key activities ) 0ntroduction and ice !reaker activities (for getting toknow people and group forming see the Palette of

resources (pp"112) for ice !reaker ideas)" (3mins)

3) 45ploring the Network$s current story in small groups of 3

6 people" (.mins)

.) 7haring current story and theming the feed!ack" (.

'mins)

') 45ploring the new story (same small groups as a!ove)"

(.mins)

8) 7haring the new story and identifying priorities" (6mins)

6) Forming vision-into-action teams and closing the day"

(.mins)

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5efore !ou read further& ta"e a moment to thin"a#out whether there are o#ectives in !our wor"placethat could #e successfull! met #! this t!pe ofapproach$ Aor example& ena#lin a roup& a team or adepartment to enerate a new identit! and strateicaction plan$

The example is explained in more detail #elow&followed #! useful points to re%ect on$ -ou don/t needto use the method exactl! as set out here& #ut canadapt it in wa!s to suit !our own wor"place or theroups !ou are wor"in with$

Creative arts materials set out for an evaluation workshop at the international RCN research society conference 2005

Workshop process

Eet/s loo" at the six "e! activities in more detail$

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Key activity 1

Introductions a#out the session/s purpose& andactivities to create connections #etween participants$Farticipants then divided into random small roups$

,ach roup had a sheet of %ipchart paper and somecra!ons


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The small roups then ver#all! presented their newstor!& with the facilitators capturin "e! themes on%ipchart sheets$ The whole roup was then as"ed to vote for which themes 7from #oth the mornin andafternoon8 should #ecome priorit! ideas to #e ta"en

forward and developed$

This was done #! num#ers of hands and roupdiscussion$ 1ependin on time and roup si'e& it canalso #e done #! as"in people to put stic":on dotsnext to points$

Key activity #

Ainall!& vision:into:action roups were esta#lished tolead on and develop the priorit! ideas$ @reas of theroom were allocated to the priorit! ideas& andparticipants sorted themselves into vision:into:actionroups to realise the "e! ideas for developin theNetwor"$

The wor" of the vision:into:action roups was thendeveloped throuh e:mail and further meetins$

Comment

The vision:into:action process was ver! e+ective indrawin out 7literall!8 participants/ views& feelinsand ideas for revitalisin the Networ"/s purpose andcreatin commitment to its future direction$ Themaorit! of participants had not experienced thismethod #efore& and enaed with it enereticall!$The imaes created 7for example& a uestion mar"hanin in space& which was then transformed intoan exclamation mar" well anchored to the round8helped to succinctl! capture perceptions andenerate practical ideas for the Networ"/s futureidentit! and purpose$ Imaes acted as Ganchors/ of

participants/ views& providin a holistic picture thatcould instantl! #e understood& and creatin sharedunderstandin of #oth challenes and aspirations forthe Networ"/s future$

Learning points to support your facilitation practice

=a"e sure !ou have !our note#oo" to hand so that !ou note ideas from the learnin points$ ;ave !ou otuestions or areas of uncertaint! from the re%ectiveexercise !ou did on the role and st!le of the

facilitator 7p$368? If so& see whether these areanswered or claried #! the learnin points$ 7If these

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points don/t answer !our uestions& there are furtherlearnin points in each of the three remaininexamples$8

>e will loo" at the followin topics(

•

timin• %exi#le facilitation

• aid to plannin a wor"shop

• attendin to the #einnin of creative sessions

• attendin to the end of creative sessions$

Timing

If !ou use this wor"shop as a uide& !ou can altertimins dependin on roup si'e and ener!& people/savaila#ilit!& the tas" and roup relationships& so !ouma! nd !ou need more or less time for di+erentsections of the wor"shop$

Flexi$le facilitation

1urin an! creative session the prepared runninorder often chanes& as !ou need to use !our udement to #alance out three aspects(

• the real:world realities of participants/ needs

• attendin to what emeres durin the wor"shop

• meetin the wor"shop o#ectives$

-ou will need to decide whether !ou& or !ou and !ourco:facilitator7s8& participate in activities perhaps as apair or #! oinin di+erent roups& or whether !oustand #ac" more and o#serve the process in whichparticipants are enaed$ It is possi#le to participateand "eep an e!e out


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richer than desinin a wor"shop onl! from anintellectual point of view$

Disney’s Strategy (Dilts, 1996: 88)

This is a useful approach to creative plannin$ Thestrate! recommends discriminatin #etween andusin three aspects of our intellience(

• the dreamer

• the realist

• the critic$

This approach has #een adapted #! the authors ofthis resource as a means of plannin creativesessions and wor"shops$

The garden at The Abbey !utton Courtenay

The dreaming self is !our #road vision and ideas$

The realist represents the real world constraints !ouhave to manae(

• time and space availa#le

• o#ectives and learnin needs

• si'e of roup

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gieTitchen


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• resources availa#le for the wor"shop . materialsand num#ers of facilitators

• resources to #e supplied to participants such ashandouts& etc$

Hther important factors to ta"e into considerationare(

• !our assessment of the roup/s li"el! "nowledeand experience of what !ou will #e facilitatin

• what the! will have #een doin #efore thewor"shop

• what the! will #e doin afterwards$

Consideration of these factors helps to provideuidance on useful wa!s to start and end the session&

and on how to lin" the session to where people havecome from and what the! are oin on to do next$

The critic represents the rane of needs andfeed#ac" !ou anticipate from the people participatinin !our wor"shop$ 5! imainativel! participatin in !our wor"shop #! puttin !ourself in participants/shoes in advance& !ou can use !our own feed#ac" of#ein a Gparticipant/ to(

• chec" whether !ou have iven enouh time todi+erent elements

• chec" whether the seuencin of the wor"shopfeels appropriate

• incorporate an! unexpected learnin that comes#! imainativel! critiuin what !ou are planninto o+er$

-ou can also test out !our ideas with friends orcolleaues throuh discussion or an actual rehearsal$

5! usin these three aspects of !ourself !ou will helpto ive !ourself a stron foundation in terms of what

!ou facilitate and how !ou facilitate$

%ttending to the $eginning of creative sessions

This includes preparin(

• to support !ourself as the facilitator

• the space !ou are wor"in in

• the roup !ou are wor"in with$

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Preparing yorsel!

It can #e useful to invite an imae to arise in !ourimaination to represent the essence of !our intentfor an! session that !ou are facilitatin$ Aor example&

one of the authors of this resource& ,mma& has foundthat in some of her facilitation wor" her imae is of#ein a #ride #etween the "nown and the un"nown&or sometimes it can #e a arden in which new thinscan row$ The imae acts as a carrier of intent and asa point of focus and roundin$ If !ou can& ta"e someuiet moments #efore !ou start to facilitate and use !our imae to help focus !our ener! and round !ourself$

Preparing t"e space

@llow enouh time to in%uence or chane the space !ou are wor"in in #efore !our meetin or sessionstarts$ >ith wor"shops !ou ma! nd it much moreconducive to put chairs into a circle or horseshoe&rather than havin them in straiht lines o !ou ma!want to chane the furniture in a space& perhaps#rin %owers& or an!thin else that feels riht& andma"e sure there are ta#les or %oor:space for la!inout creative materials$

Preparing t"e grop

Thin" a#out this in terms of Gsettin the scene/$ ,achroup with which !ou wor" will need an introductionto the purpose and intent #ehind an! creative activit! !ou are facilitatin$ ometimes this ma! #e short .ve minutes or so& and sometimes loner . )0.20minutes with uestions$ >hat !ou sa! will depend onthe people !ou are facilitatin& and !our intent andassessment of the li"el! prior experience of !ourparticipants to creative wa!s of wor"in$

Contextual intellience is a term for thin"in a#outwhat the needs of a particular roup


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need detailed explanations& others much lessexplanation and ust simple encouraement to have ao$ Invite participants to as" an! uestion the! feelthe! need to$ @s part of !our evaluation it is alsouseful to as" for feed#ac" on what does and doesn/t

help in settin the scene$

The practice ,mma has developed to prepare roupsof up to 20 when facilitatin half:da! or whole:da!sessions creativel! is(

• introducin the session . discussin purpose&structure and ivin an overview of the creativeprocesses to #e used

• invitin participants to chat in small roups of twoor three a#out their responses to what she has

said& includin hopes and fears• as"in the small roups to share their responses

so that the roup and the facilitator understandwhere people are at& and what support orclarication is needed

• areein round:rules( for example&condentialit!& and an! other round:rules areed#! the roup$

If !ou are co:facilitatin a roup of more than 20& !oucan draw out hopes and fears #! dividin the roup

into two su#roups$ ,ach su#roup shares theirhopes and fears onto a lare %ipchart sheet& whichmem#ers discuss with the co:facilitator$ >hennished& each su#roup visits the other su#roup sothat there is an overall understandin of where theroup as a whole is at$

Aor loner time periods& an option enerated #! theInternational Fractice 1evelopment Colla#orative attheir wee":lon practice development schools is toinvite participants to write statements a#out their

hopes& fears and expectations on stic"! notes$ This isdone at the #einnin of the wee"$ The statementsare put up on %ipchart sheets in the rst mornin forpeople to loo" throuh them$ @t the end of the wee"&each person reclaims the ones the! wrote andresponds to their #einnin statement on theopposite side of the stic"! note& or on another sheet$This ena#les accurate comparison for evaluationpurposes$

%ttending to the end of creative sessions

ome options on how to nish the session are(

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• straiht:forward discussion and evaluation

• invitin participants to conve! the essence of theirexperience in a few words& or #! descri#in animae from their imaination

•

sharin ver#all! somethin the! are leavin#ehind& and what the! are ta"in with them

• ta"in ten minutes in pairs to use theirimaination to ma"e a simple drawin a#out the#enets and challenes of the session& and then ver#all! summarise the drawin with the rest ofthe roup$

-our options will depend on roup si'e and ener!&the needs at the end of the session& and !our udement a#out what is appropriate$

Endpoint overall reflection

=a"e notes of !our thouhts and feelins a#out what !ou have found useful from this example and thelearnin points$ -ou ma! also want to consider an!situations in which !ou could use the example& andre%ect on the followin uestions(

• >ould !ou need to adapt the method?

• >hat support would !ou need?

• >hat challenes would !ou face& and how would !ou manae them?

• >hat would !our aims #e and how would !ou "now !ou had #een successful?

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"n the garden of a beautiful house Angie found a mandala worked into the stonework of some steps# A mandala is anarchetypal symbol in the form of a circle with e$ual%si&ed segments# Angie decided to use the mandala as a focal pointfor creativity# The photo above shows how a group of practice developers used the symbol to e'periment with how tomake sense of and to synthesise evidence that has been gathered creatively for evaluation of a practice developmentinitiative#

!oving on" Example #

The next example descri#es the use of culturecollaes 7wor"in with pictures from newspapers andmaa'ines and o#ects from home or wor"inenvironments . descri#ed in full #elow8$ This o+ers adi+erent choice of method to Example 1& and ma! #emore appropriate if people are less comforta#le withdrawin$

Culture collaes are creative wa!s of descri#in andanal!sin wor"place cultures$ @ collae ma! consistof(

• visual imaes 7from newspapers and maa'ines8

• "e! words

• o#ects and sculptures placed on %ipchart paper&card& etc$& or in a specic space in a room$

To create the culture collae& use cra!ons& paints&pastels& charcoal or an! other drawin materials$

H#ects ma! #e from nature& or ever!da! materials

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such as "e!s& strin& etc$ #rouht from home or thewor"place$

culptures ma! #e made out of ever!da! o#ects inthe room& cla! or people$ @ people sculpture 7oftencalled a ta#leau8 is formed #! one or more peopleta"in up a still esture or stance which representssomethin important a#out the wor"place culturethe! are descri#in$ The people in the ta#leau ma! #esittin& "neelin& standin& or l!in down$ The! areli"el! to have particular expressions on their facesand to have their arms and hands in specic esturesthat conve! the nature of the culture the! areexpressin$ culptin of people to representsituations has its oriins in forms of theatre for socialchane such as Imae Theatre 75oal& 20028$

Farticipants ma! also choose to use cla! to createshapes which are meaninful to them as illustrationsof aspects of their wor"place cultures$

@ culture collae can have as little or as much in it asparticipants want$ Farticipants choose freel! whichmaterials the! want to wor" with$

The Creating cultures of eectiveness wor"shop in Example 2 ta"es place within a num#er of wee":lonpractice development schools run #! theInternational Fractice 1evelopment Colla#orative

7IF1C8& of which the RCN is a partner& in the J9 andinternationall!$

The other IF1C partners are Aont!s Jniversit! for @pplied ciences 7The Netherlands8& Aoundation ofNursin tudies 7J98& Kames Coo" Jniversit!7@ustralia8& =onash Jniversit! 7@ustralia8& Northern!dne! Central Coast ;ealth 7@ustralia8& Jniversit!of Jlster 7J98& *ictoria Jniversit! of >ellinton 7NewLealand8 and >ai"ato 1istrict ;ealth 5oard 7NewLealand8$

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Example 2

9reating cultures of effectiveness workshop

Context and purpose he aim of the session is for participants to:

/ creatively identify attri!utes of cultures (!oth effectiveand less effective)

/ generate the attri!utes of effective cultures

/ reflect on the relationship !etween culture and practice

development

/ reflect on the relationship !etween themselves and their

own workplace culture now and in the future"

Group size % worka!le sie group (338) where participants share

something in common a!out their workplaces" he main group

is divided into two smaller groups of a!out participants&

which may choose to su!divide into smaller groupings"

Outcome he creation of culture collages !y participants to reflect

their aspirations of what is needed in terms of effective

workplace cultures" 9reating the culture collages generates

understanding a!out the changes or development focus

re;uired to !ring a!out effective cultures"

Time 3 hours

Materials/resources


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5efore !ou read further& ta"e a moment to thin"a#out whether there are o#ectives in !our wor"placethat could #e successfull! met #! this t!pe ofapproach$ Aor example& ena#lin a roup& a team or adepartment to enerate an e+ective wor"placeculture$


Workshop process

Eet/s loo" at the ve "e! activities in more detail$

Key activities 1 and 2

>or"shop introduction of ve minutes to explain thepurpose of session& invite roups to oranisethemselves and indicate resources for use& followed#! oranisin participants into small roups$ Jsefacilitation s"ills to create feelins of safet! andpla!fulness$

H+er participants the opportunit! to create a picture

7collae or sculpture8 of their cultures as the! arenow$ It/s reall! important to use few words here andive minimal advice . ust suest the! have a o andsee what emeres @llow 30 minutes for this$

Key activity

Mroups then move around each culture collae andhear from the presenters a#out their culture$ @im toet round the presentations in 30 minutes& with onefacilitator drawin out concepts of cultures and

practice development& which can #e noted on%ipchart sheets$ Capturin metaphors and imaescan also #e helpful$ Maller! participants can o+ercomments on each collae& #ut these should #efocused on G>hat I see here is /& G>hat I feel fromthis is / rather than tellin the creators what the!have created& ivin advice& or commentin on theualit! of the creative wor"$

Key activity !

@spirational culture( now invite the same roups toamend or transform their creation to #ecome a

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culture of e+ectiveness$ @llow ) minutes foramendments$

Mroups then share their revised culture collaes$ @llow ) minutes for this$

Key activity "

Ainall!& the facilitators summarise what roups havesaid and lin" #ac" to the purpose of the session$Farticipants are invited to refer to the handout&references& etc$& to develop their understandin ofconcepts and theories in more detail$ The session isthen closed$

('ample of a group sculpture using a variety of materials

Comment

@s a facilitator it is enerall! up to !ou to #rin thesession to a summar! and then a close$ @s !ou othrouh the sharin of the creative collaes andsculptures& !ou can ma"e short notes on the "e!learnin that is emerin so that !ou can re%ect this#ac" to participants at end of the session$ If !oureall! feel inspired !ourself& !ou miht #e a#le to

achieve this throuh the use of metaphors or #!suestin a series of visual imaes for participants

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• oranisin small roups

• sharin the presentations

•

aspirational culture• support material$

Organising small groups

If participants have come from di+erent settins&the! can o into small roups of an! "ind& or ma!have their own ideas$ If !ou are wor"in with oneoranisation& the roup mem#ers themselves willhave clear ideas a#out how #est to oranisethemselves& unless !ou want to challene this

Sharing the presentations

If an! small roups have created somethin fraile orwith human sculptures these roups ma! need to ivetheir presentation rst$

%spirational culture

5ear in mind that the mem#ers of a roup ma!decide not to chane their culture collae when !ou

invite them to amend it$

Support material

ometimes a short formal presentation on wor"placeculture #efore the creative session is also included&or a handout is iven as part of the wor"shop withattri#utes of wor"place cultures to assist in thecreative session$






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!oving on" Example $

The next example descri#es the use of creativeprocesses to explore what it means to #e a practicedeveloper within two di+erent approaches to practicedevelopment$

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Example 3

45ploring the meaning of technical and emancipatory practice development

Context and purpose ?n the second day of the week-long 0nternational Practice

Development 9olla!orative school (see 45ample 3 & p"'1)&participants are introduced to a continuum: at one end&

technical practice development (e"g"& pro,ect management) and

at the other& emancipatory practice development (e"g"&

creating a culture of effectiveness)" hese approaches are

descri!ed in a half-hour& formal presentation showing where

they are located philosophically and theoretically" @any

participants find this description pretty hard to think a!out

in terms of what it means to them as practice developers" o

help them search for personal meaning& participants are

invited to work in small groups and& spontaneously and witout

tin!in"& to e5press& through a group painting& what it might

feel like to !e a facilitator of technical or emancipatory

practice development"

Group size here are usually !etween . and 8 participants at the

schools and all attend the presentation" he small groups are

ideally no more than eight people"

Outcome Aigher energy levels amongst participantsB an

em!odiedCinternalised sense of what technical and

emancipatory practice development isB !eing a!le to talk

a!out the implications of taking a technicalCemancipatoryapproach in relation to the key concepts e5plored during the

week"

Time 'mins

Materials/resources


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5efore !ou read further& ta"e a moment to thin"a#out whether there are o#ectives in !our wor"placethat could #e successfull! met #! this t!pe ofapproach$ Aor example& ena#lin individuals toexplore what it means to #e a practice developer$


An e'ample of a group painting using a range of materials

Workshop process

Eet/s loo" at the four "e! activities in more detail$>here we refer to the facilitator #elow& we mean thelead facilitator$ The other facilitators are alert andattuned to whether the roups need help& forexample& to et oin in the paintin and to deal withwhatever comes up$ Their role is therefore to provide#ac"round support and to o+er more active supportif the need arises& e$$& someone #ecomes upset& or aroup is not wor"in e+ectivel! toether$

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Key activity 1

The facilitator explains the importance of creatinround:rules for doin a roup paintin& i$e$ theimportance of #ein respectful of& and not violatin&

each others/ paintin space& as some people mihtfeel ver! upset if someone added somethin to theircreation without permission #ein iven$ Mroups areencouraed to aree whether people are happ! withothers paintin within their space 7which peopleusuall! ta"e to #e the space on the #it of paper infront of them8 and then& if people are in areement&how to move into the other person/s space in anaccepta#le wa!$

Key activity 2

The facilitator stresses that this activit! is not a#outcreatin @rt& with a capital Ga/& rather it is a#outaccessin our imaination and then expressin itcreativel!$ It is explained that this is intended to #e apla!ful process$ The facilitator ac"nowledes thatthis ma! #e a rst for man!& and that it ma!&therefore& #e causin anxiet! and #lan" minds$ Tohelp those whose minds ma! #e #lan"& people areinvited to choose the colour the! are attracted to andmove it a#out on the paper$ The facilitator explains

that if people trust the process& without an! outcomein mind& somethin almost certainl! starts to emereon the paper& as if all on its own$ omethin that theirimaination can pla! with$

Key activity

Faintin seems to #e #est when done in silence& assilence deepens people/s capacit! for creativeimainin$ Tal"in while paintin& on the other hand&seems to shut this capacit! o+$ If people start to tal"

or lauh 7and the! often do8& the facilitator entl!suests& for example& that wor"in in silence mihthelp them #e more creative and imainative& or thatnoise ma! #e distractin for others$ Hnl! ten minutesis iven for this part of the activit!& #ecause a shorttimespan nearl! alwa!s opens up the potential forspontaneit! #ecause there is no time to stop andthin"& then free'e or dither

Key activity !

In a similar wa! to the previous examples&participants are invited to wal" around the paintins&

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as if in an art aller!$ The facilitator invites eachroup to put into words the meanins that emeredthrouh paintin$ The facilitator encouraesresponses to the paintins in the form of GI see& I feel&I imaine/& so respondents own their own

interpretation and are not re:interpretin thepainters/ own$

Comment

Farticipants can #e invited to add words or furtherimaes to roup paintins& after the Gart aller!/sharin& to incorporate an! new insihts emerinfrom articulatin meanins and hearin how othersexperience the paintin$ Aor example& InternationalFractice 1evelopment Collouium mem#ers usedsuch an approach in their co:operative inuir! toexplore the ultimate purpose of practice developmentin healthcare as human %ourishin for all those whoive and receive care$ ,nain in the roup picturereproduced on the next pae helped inuir!participants to move into a conitive approach toexplorin human %ourishin& that is& throuh conceptanal!sis$ Then& #! com#inin this mentalunderstandin with further artistic expression& newinsihts& and in some cases& perspective

transformation 7=e'irow& )DB)8 occurred 7see p$8$

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The members of the "nternational )ractice *evelopment Collo$uium used the creation of a mandala in their e'plorationof human flourishing as the ultimate outcome of practice development


;ere are further learnin points a#out facilitatincreativel!$ =a"e sure !ou have !our note#oo" to handto note thouhts and ideas that !ou nd useful fromthese points$ Chec" whether !ou have an!unanswered uestions or uncertainties from theexercise on the role and st!le of the facilitator& andsee if these learnin points are helpful$


• perspective transformation

• #rinin out personal


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held viewpoints& that is& the! are now loo"in at thesame thin& #ut from a completel! di+erentperspective$ This is what =e'irow calls perspectivetransformation$ @nother wa! of loo"in at thistransformation is that olden moment or Gaha/ that

we experience when the Gpenn! drops/$ Aor someInternational Fractice 1evelopment Collouiummem#ers& the com#ined activities descri#ed a#ovehelped them to understand for the rst time whatcritical creativit! 7=cCormac" and Titchen& 20068meant$ @s facilitators& we can help people to em#od!theoretical understandin& li"e the di+erence#etween technical and emancipator! practicedevelopment& throuh ivin people an opportunit! toexperience it$ The experience is then explored incritical dialoue with others and with the theoreticalliterature$

Bringing out personal(team difficulties and innero$stacles

@ facilitator must #e aware that enain in creativeactivities and critical& creative dialoue is li"el! to#rin to the surface personal or interpersonaldi+iculties that ma! #e ettin in the wa! of #rinina#out chane in the wor"place$ Therefore& as in otherfacilitation contexts& the facilitator must #e

"nowledea#le and s"illed in facilitation processesand roup d!namics and processes$ The RC!or"place resources for practice development 7RCN&2008 can help !ou develop !our "nowlede and s"illsin these areas$

Bringing in new perspectives through creative imaging

In addition to facilitatin such creative activities asshown in Examples 1#$& there are other wa!s of#rinin in new perspectives$ Aor example& fresh

perspectives can #e #rouht to reports& articles& ver#al and computer:aided presentations$ -ou ma!want to scan in photoraphs or use raphic imaes todescri#e or ive emphasis to points !ou want toma"e& ust as we are doin here$ -ou can interatecreative imaes into presentations to help conve! themeanin and ualities of what !our presentation isa#out$

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Aor example& these slides were used to show howwal"in in nature and usin paintins& metaphors andso on can #e used to help people to re%ect on theirpractice and ain new insihts$

Consider also how !ou use space for meetins$ -ou

can transform the atmosphere of a room #! includin%owers or other materials$ ;oldin awa!:da!s orwor"shops in places where !ou have access toardens or other parts of nature can also #e useful insupportin the ener! and motivation of participants$







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!oving on" Example %

The next example descri#es the use of creativemethods to support proect evaluation$

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Example #

4valuating creatively: methods to support pro,ect evaluation

Context and purpose % group of senior nurses from different clinical areas who had

!een through an >9N 9linical eadership Programme werepreparing an evaluation for presentation to their rust !oard&

and staff and management colleagues" he training manager

was interested in innovative evaluation methods& and agreed

to take the risk of using visual images and key words as a

narrative process for pro,ect evaluation and presentation

purposes"

Group size 1

Outcome he training manager advised that the collage presentation to

a rust audience of . #went very well$ and commented that

#you could really see how this group had progressed

throughout the course a fantastic way to present an

evaluation$"

Time 0ntroductory session and two half-days"

Materials/resources


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5efore !ou read further& ta"e a moment to thin"a#out whether there are o#ectives in !our wor"placethat could #e successfull! met #! this t!pe ofapproach$ Aor example& ena#lin roups or teams toevaluate and present creativel!$


Workshop process

Eet/s loo" at the four "e! activities in more detail$

Key activities 1 and 2

Aollowin the introductions& the rst session wasused to review and re%ect on the information theroup had alread! athered& and to theme theinformation into overarchin topics which thecollaes would illustrate$ The roup focused on three"e! areas( the di+erence the proramme had made totheir professional development and practice& theirteam/s development& and improvements in patientcare$

Key activity

The areed topic areas acted as Gnews items/ a#outthe impact of the leadership proramme$ In thesecond session& participants created individualcollaes on @3 paper to re%ect their learnin&achievements and challenes& selectin imaes and"e! words from the collae material that conve!edthe impact of the proramme under each topic area$

5efore the next session& participants collated uotesfrom patients/ stories to present alonside thecollae wor"$

Key activity !

In the third session& participants reviewed theirindividual collaes for an! further chanes oradditions$

Farticipants then oined up into two small roups&and made two further collaes$ Hne collaesummarised the di+erences achieved in patient care&and the second focused on recommendations for

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chanes in oranisational practice that a+ect patientcare$

Ainall! participants rehearsed the Trust presentation&#! areein an introduction and rehearsin how tocommunicate their presentation includin the collaewor" and uotes from patient stories$

Comment

@ ver! lare amount of information on the impact ofthe proramme had alread! #een captured on%ipchart sheets in roup discussions #! theparticipatin nurses$ The purpose of the collae wor" was to et to the essence of this information #!s!nthesisin it into overarchin themes$ The

sinicant elements of the nurses/ experiences& thechanes in practice& and the impact on patient carewere then communicated throuh a visual narrative#! creatin a series of collaes to tell the stor!$ Thecollaes were accompanied #! uotes from patients/stories and the nurses/ o#servations of patient care$


;ere are further learnin points a#out facilitatincreativel!$ =a"e sure !ou have !our note#oo" to handto note thouhts and ideas that !ou nd useful fromthese points$ Chec" whether !ou have an! otherunanswered uestions or uncertainties from theexercise on the role and st!le of the facilitator& andsee if these learnin points are helpful$


• ta"in ris"s

• creativel! manain information

• essence of evaluation$

Ta&ing ris&s

>or"in creativel! is a#out ta"in ris"s$ This needsto #e neotiated and prepared for when #einintroduced for the rst time$ ;ave an actual example7e$$ of a collae8 to share with participants whendiscussin and introducin a creative wa! of wor"in&so that participants can see and as" uestions a#outthe creative process to which !ou are referrin$

In a di+erent proect& nurses in a Trust too" the ris"of usin collae as a presentation format at a ward

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sisters/ meetin to present the aspirations&challenes and outcomes for improvin nutrition forolder people$ The! received feed#ac" that this was apowerful wa! of presentin the di+erent dimensionsand outcomes of a proect$

)reatively managing information

1evelopment& education and research initiatives canenerate ver! lare amounts of data$ Creative mediao+er wa!s of ma"in sense of information and data&and conve!in outcomes in novel wa!s whichenerate ener! and momentum amon participantsand audiences$

In a di+erent proect& lead research and developmentnurses used collae methods to ma"e sense ofresearch data in an action research proect #!drawin out "e! themes and messaes to inform theirresearch reports& clinical supervision and end:of:proect Trust presentations$

*ssence of evaluation

Jsin creative media can #e e+ective in helpinpeople to et at the nu# or essence of theirevaluation of& sa!& a meetin& wor"shop or activit!$ 5!invitin people& spontaneousl! and without thin"intoo hard 7if at all8& to o+er a metaphor& an imae& asound& or a esture& it is possi#le to et at a s!nthesisof people/s experience of the particular meetin&wor"shop& etc$ Aor example& at the end of an actionlearnin set& a facilitator miht invite people toevaluate the session #! sa!in& GIf the set toda! was amusical& what would it #e?/ or GIf it was a arden&what would it loo" li"e?/$ Hr the facilitator mihtsuest a esture that captures their experience thatda!$ o one individual miht sta! sittin and put their

head in their hands to show how di+icult andfrustratin it had #een that da! to re%ect criticall!and creativel! on their issue& whilst another mihtstand up and point forward and up with a straihtarm to express the new clarit! and direction$ Hr aseries of estures miht #e suested #! a facilitatorto evaluate the set/s wor"in toether over time$ Theuse of esture can also #e used #! a roup to createa ta#leau 7see %oving on& Example 2& pp$46.48 oftheir shared evaluation of their learnin toether$

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Now that !ou have read or studied all four examplesin Section B& !ou miht li"e to ta"e )0 minutes tosummarise what !our next steps are for !our creativepractice$ Ferhaps there are ideas from this sectionthat !ou would li"e to incorporate in !our action planfrom the end of Section A$ @lternativel!& !ou mihtli"e to ma"e a creative response . usin an!materials and method !ou wish . to represent theessence of !our learnin from wor"in with thisresource$ -our response could act as a reminder andsource of inspiration a#out what !ou have ained

from usin this resource

+ext stage of the resource

This is the end of Section B$ The nal section of theresource is the Palette of resources& which providesinformation on creative courses& contacts andreferences$ >e hope !ou have found this resourceuseful and welcome an! feed#ac" !ou want to ive$Flease use the feed#ac" sheet at the end of the

Palette of resources$

If !ou would li"e to send us a description of creativemethods !ou have used . in the same format as theexamples in this section . we will consider includinit in the Palette of resources for others to learn from$

Opening Doors (4): Section B - Facilitating others

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Transcript of Opening Doors (4): Section B - Facilitating others