Opening Doors (5): Palette of resouces

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Opening doors on creativity – Palette of resources

Palette of resources

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Purpose and content

The Palette of resources is like a signpost which can

lead you to diferent places to be explored It ofers you !arious paths that act as sources o" "urtherin"or#ation "or your continued personal andpro"essional de!elop#ent in the $eld o" creati!ityThere are three paths "or you to browse%

&ath ' In this part o" the Palette you will $ndsuggestions "or "urther reading and websitesabout personal creati!ity( the application o"creati!ity in healthcare and the wider $eld o"arts and health( and practical exa#ples o"

creati!e arts "acilitation&ath 2 )ere you can disco!er descriptions o" a

creati!e cycle so that you can link your owncreati!e experience to so#e o" the theoreticalknowledge about the creati!e process Thispath also includes *uestions to enable you tore+ect on your creati!e experiences

&ath , This part o" the Palette contains exa#ples o"war#-up or relaxation acti!ities that you coulduse with groups .ou are ofered the core

ele#ents o" the acti!ities .ou #ight want tode!elop the acti!ities as you work with groupsand add #ore to your own palette .ou willalso $nd ad!ice on working with guided !isualisation

/" course( it is entirely up to you which path youchoose to wander down .ou can re!isit the Palette inthe "uture and choose another path to explore .ou#ight $nd you are #ore drawn to a diferent path as your experience with creati!ity broadens

t the end o" this Palette of resources there is a"eedback sheet( and we would !ery #uch appreciate your co##ents on this creati!e arts resource

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Path 1 Further reading, websites andpractical examples

This path is arranged into "our subcategories%' Ways of developing creative potential 1 these

re"erences include creati!e approaches topersonal( social( and organisational de!elop#ent(and pro!ide exercises and acti!ities "or de!elopingcreati!ity in onesel" and in organisations

2 Examples of creative practice in healthcare 1these re"erences describe how diferent "or#s o"creati!ity ha!e been used in healthcare

, The wider eld of arts in health 1 since this $eld isconstantly de!eloping we ha!e pro!ided a s#allselection o" websites to pro!ide a broad picture o"the arts in health3 $eld

4 Examples of the use of creative arts in a variety of settings and contexts – we hope these illustrati!eexa#ples will encourage you( and inspire you toin!estigate the use o" the creati!e arts in your ownsetting5s

Ways of developing creative potential

Suggested further reading

llen( &7 5'889 Art is a way of knowing( 7oston%:ha#bhala

7oal( 52002 Games for actors and nonactors 5secondedition( ;ondon% Routledge

Ca#eron(


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Bittings( R 5editor 5'8D0 +etters of ,ohn -eats" anew selection( ;ondon% /x"ord Eni!ersity&ress

Blouber#an( = 5'88 +ife choices and life changesthrough imagework% the art of developing personal

vision( ;ondon% EnwinBrant( = and /swick( C 5editors 5'886 .etaphor and

organisations( ;ondon% :age

)olly( >; 52002 -eeping a professional /ournal( :ydney(EN:?

Fiebert( C 5200' All of a sudden" the creative process(Rio =el >ar( C% Coeleen Fiebert5http%GGwwwcanyonartsco#G

Fittay( @H 5'8D .etaphor" its cognitive force andlinguistic structure( /x"ord% Clarendon &ress

;akof( B and 5'80 .etaphors we live $y (Chicago% Eni!ersity o" Chicago &ress

>acchiodi( C 52002 The soul!s palette – drawing onart!s transformative powers for health and well$eing( ;ondon% :ha#bhala

>ay( R 5'8D9 The courage to create( New .ork% ??Norton and Co

>cNif( : 5'884 Art as medicine" creating a therapy ofthe imagination( ;ondon% &iatkus

>cNif( : 5'88 Art$ased research( ;ondon% cNif( : 5'88 Trust the process" an artist!s guide toletting go( 7oston% :ha#bhala

>ilner( > 5'89D 0n not $eing a$le to paint 5secondedition( New .ork% International Eni!ersities &ress

>organ( B 5'88, 1magini(ation" the art of creativemanagement( ;ondon% :age

Neu#ann( @ 5'898 Art and the creative unconscious" four essays( &rinceton% &rinceton Eni!ersity

&earce >yers( T 5editor 5'888 The soul of creativity (Cali"ornia% New ?orld ;ibrary

&earson( and @ngleheart( & 5'88, 2raw on youremotions% creative ways to explore3 express andunderstand important feelings( 7icester% ?inslow

aldAs( >


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?hyte( = 5'884 The heart aroused" poetry and thepreservation of the soul in corporate America( New

.ork% Currency =oubleday

Jinker(


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http%GGwwwrcnorgukGresourcesGpracticede!elop#entGabout-pdGprocessesGcreati!eGThe RCN practice de!elop#ent tea#3s creati!e artspage

http%GGwwwrcnorgukGresourcesGpracticede!elop#entGnewsGThe RCN practice de!elop#ent tea#3s news ande!ent page

http%GGwwwsacred-clown-as-healercouk ?orkshops and courses in ;ondon and @urope whichai# to release creati!ity and bring "orth a poetici#agination o" li"e3

nother good place to $nd out about local courses increati!ity or workshops in your area is an alternati!e

bookshop or ca"A or the local library

© 2006 RCNI 6D

JanDe

wing

http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/http://www.rcn.org.uk/resources/practicedevelopment/news/http://www.rcn.org.uk/resources/practicedevelopment/news/http://www.sacred-clown-as-healer.co.uk/http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/http://www.rcn.org.uk/resources/practicedevelopment/news/http://www.rcn.org.uk/resources/practicedevelopment/news/http://www.sacred-clown-as-healer.co.uk/


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Examples of creative practice in healthcare education, practice development and research

.ou #ay $nd the "ollowing audio C= help"ul%

incent( F 52004 A /ourney within% Guided meditations$y -im #incent .ou can buy it through her websitewwwawakenthehealerco#( a E:-based site( or"ro# wwwcanhelpnowco#( a EF-based websitesupporting the 7ristol Cancer )elp Centre

Suggested further reading

rts Council @ngland 52009 Arts3 creativity and health inthe &outh East( 7righton% rts Council @ngland:outh @ast

7aker( F 52000 cting the part% using dra#a to e#powerstudent #idwi!es( Practising .idwife( ,5'(


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=arbyshire( & 5'884 Enderstanding caring through artsand hu#anities% a #edicalGnursing hu#anitiesapproach to pro#oting alternati!e experiences o"thinking and learning( ,ournal of Advanced

6ursing( '859( >ay( pp9616,

@isner( @ 5'8' /n the diferences between scienti$cand artistic approaches to *ualitati!e research( Educational 4esearcher ( '054( pril( pp918

Hish( = 5'88 Appreciating practice in the caringprofessions"

refocusing professional developmentand practitioner research( /x"ord% 7utterworth-)eine#ann

Hish( = and Coles( C 5editors 5'88 2evelopingprofessional /udgement in health care" learningthrough the critical appreciation of practice(/x"ord% 7utterworth-)eine#ann

Hreshwater( = 5editor 52002 Therapeutic nursing"improving patient care through selfawareness andre5ection( ;ondon% :age

Hreshwater( = 52004 @#otional intelligence% de!elopinge#otionally literate training in #ental health(

.ental 8ealth Practice3 54( =ece#ber( pp'21'9

Bendron( = 5'884 The tapestry o" care( Advances in 6ursing &cience( 'D5'( :epte#ber( pp291,0

Breenhalgh( T 5'88 6arrative $ased medicine" dialogueand discourse in clinical practice( ;ondon% 7><7ooks

)agedorn( > 5'884 )er#eneutic photography% aninno!ati!e aesthetic techni*ue "or generating datain nursing research( Advances in 6ursing &cience('D5'( :epte#ber( pp44190

)iggs( ay( C and Hle#ing( C 5'88D The pro"essional

i#agination% narrati!e and the sy#bolic boundaries

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workshops( ,ournal of 1nterprofessional 'are( '65'(Hebruary( pp9,19

?inter( R( 7uck( and :obiechowska( & 5'888 Professional experience and the investigativeimagination" the art of re5ective writing( ;ondon%

Routledge .oung->ason( edicine( an independent research and e!aluationresource based at =urha# Eni!ersity

http%GGwwwhertsacukGlisGsubMectsGarttherapyGartther2ht# This website is part o" the Eni!ersity o")ert"ordshire3s ;earning and In"or#ation :er!ices(

and pro!ides details o" a wide selection o" Internetsites rele!ant to the arts therapies

http%GGwwwlah"co#GThe ;ondon rts in )ealth Horu# 5;)H is anetworking organisation "or health and artspro"essionals and health-related organisations

http%GGwww#ap"oundationorgG isual art exhibitions( literature( and workshops "orpatients and health pro"essionals on the e#otionalaspects o" illness The >& Houndation is co-"oundedby >ichele &etrone( artist and patient

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http://www.artscouncil.org.uk/http://www.creativemethods.org.uk/http://www.creativewritingonline.com/http://www.dur.ac.uk/cahhmhttp://www.herts.ac.uk/lis/subjects/arttherapy/artther2.htmhttp://www.herts.ac.uk/lis/subjects/arttherapy/artther2.htmhttp://www.lahf.com/http://www.mapfoundation.org/http://www.artscouncil.org.uk/http://www.creativemethods.org.uk/http://www.creativewritingonline.com/http://www.dur.ac.uk/cahhmhttp://www.herts.ac.uk/lis/subjects/arttherapy/artther2.htmhttp://www.herts.ac.uk/lis/subjects/arttherapy/artther2.htmhttp://www.lahf.com/http://www.mapfoundation.org/


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http%GGwww##uacukGarts"orhealth rts "or )ealth at >anchester >etropolitanEni!ersity is a pioneering "orce in the de!elop#ent o" arts and health in 7ritain and internationally

http%GGwww#usictherapyorgGThe website o" the #erican >usic Therapy ssociation

http%GGwwwnnahorgukGThe National Network "or the rts and )ealth is a#e#bership organisation open to all and pro!idesin"or#ation( con"erences( ad!ocacy and networkingon regional and national arts and health proMects

http%GGwwwnufieldtrustorgukGClick on Policy areas( click on 8umanities( "or listings

o" reports on the hu#anities in healthcare publishedby the Nufield Trust :ee particularly ppendix 5asu##ary o" de!elop#ents on the arts in health $eldin the report 'reative arts and humanities inhealthcare" swallows to other continents 5Coats et al(2004

http%GGwwwrcnorgukGresourcesGpracticede!elop#entGabout-pdGprocessesGcreati!eGThe RCN Institute collaborated in the &ei(ing the recollaborati!e in*uiry The in*uiry looked at personal

creati!ity and the use o" creati!e arts 1 such aspainting( clay #odelling( dra#atisation( #usic(#o!e#ent and creati!e writing 1 in practicede!elop#ent( research( education and practice

Hinally( you #ay be interested in the CanadianCreati!e rts in )ealth( Training and @ducation e-Newsletter edited by Cheryl >c;ean :end an e-#ailto c#!oicerogersco# re*uesting to be added tothe "ree newsletter #ailing >ailings will be "ourti#es a year 1 :pringG:u##erGHallG?inter

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http://www.mmu.ac.uk/artsforhealthhttp://www.musictherapy.org/http://www.nnah.org.uk/http://www.nuffieldtrust.org.uk/http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/http://www.mmu.ac.uk/artsforhealthhttp://www.musictherapy.org/http://www.nnah.org.uk/http://www.nuffieldtrust.org.uk/http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/http://www.rcn.org.uk/resources/practicedevelopment/about-pd/processes/creative/


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Examples of the use of creative arts in a variety ofsettings

These exa#ples co!er settings as di!erse as palliati!e

care( co##unity health( nursing education andresearch( practice de!elop#ent and whole syste#sworking( and de#onstrate diferent uses o" thecreati!e arts in healthcare

The "acilitators who pro!ided these exa#ples werein!ol!ed in the Nufield Trust "unded report 'reativearts and humanities in healthcare" swallows to othercontinents 5Coats et al( 2004( which was one o" theinspirations "or 0pening doors on creativity

?e are grate"ul "or their per#ission to include theexa#ples in this resource ?e hope that you will $ndthe# interesting and inspirational

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Practice example 1: From reflective practice to visioningthe future: using creative arts in nursing development andin patient and user involvement

s an independent "acilitator( I work with a !ariety o"arts-based #edia with practitioners and #anagers(educators( students and researchers in nursing Thiswork enables people to "ree up their own thinkingand engage with no!el approaches to learning andde!elop#ent >y ai# is to "acilitate participants touse their own creati!ity to support a range o"obMecti!es( including%

• inno!ati!e approaches to re+ecti!e practice

• tea# de!elop#ent( e!aluation and research

• !isioning the "uture "or ser!ice i#pro!e#ents

In palliati!e care I work with i#age theatre tosupport re+ecti!e practice I#age theatre is aparticipati!e dra#a process that is pri#arily non- !erbal( and re*uires no pre!ious experience It is anarrati!e and experiential approach to learning( andstarts with s#all group work( with participantssharing challenging episodes "ro# clinical practice Iin!ite participants to share stories 5respectingcon$dentiality that "eel unresol!ed( and "ro# which

they wish to gain insight in order to de!elop theirpractice &articipants discuss the co##on and uni*uethe#es e#bedded in their stories( and then selectone story per s#all group "or trans"or#ation intoi#age theatre This consists o" turning the selectedstory into a series o" still scenes The $rst scenecaptures the storyteller3s current perception o" theissues contained in their story( and the second sceneshows what the storyteller would like to ha!ehappened The two diferent scenes are portrayed byparticipants who ha!e been put into statues or silentgestures to represent the key issues contained in thestory Those not in the $rst scene witness it bysharing out loud what the scene illu#inates in ter#so" "eelings being expressed( power( relationships( andcaring The $rst scene is then trans"or#ed into asecond one 1 what the storyteller would like tohappen instead ?e co#pare the second scene to the$rst one( and discuss the learning the two scenesha!e pro!oked This #ay be changes in attitudes orperspecti!e( release o" "eelings "ro# dificult

situations( new understanding about patient-

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centredness( or greater choice in ter#s o" caring inpractice

Co##ents "ro# practitioners who ha!e participatedin this approach illustrate so#e o" the bene$ts o" thisway o" working% @image theatre provided an excellentopportunity to explore emotions and how they cana;ect our practice!U @image theatre has heightenedmy awareness of individual perception relating to thewhole picture – useful for situations where there ischoice over change in reactions and $ehaviours!Ui#age theatre @o;ers a new way of dealing withpro$lemsolving in what are often very complexsituations!%

nother creati!e approach I use is the !isual #ediu#o" collage 5colour and black and white i#ages cut"ro# newspapers and #agaKines Collage is a "unand power"ul way o" enabling groups and tea#s toget to the heart o" issues in connection to !isioningthe "uture( proMect e!aluation( or working on actionplanning and de!elop#ent The process o" creatingcollage #aps3 5+ipchart paper co!ered with a !arietyo" colour and black and white !isual i#ages thatre+ect people3s aspirations( challenges( goals( and"eelings acts as an exciting catalyst "or change( andis !ery efecti!e in creating ownership and

co##it#ent This process o" !isual thinking enablesgroups to%

• arri!e at a sense o" co##on purpose

• i#pro!e shared understanding o" si#ilarities anddiferences

• explore obstacles and dificulties

• achie!e clarity about the way "orward and actions"or i#ple#entation

• in the case o" e!aluation( re!iew and co##unicate

with i#pact achie!e#ents and reco##endations"ro# progra##es or proMects

I ha!e worked with collage "or a broad range o"purposes Hor exa#ple%

• with a patient group( using collage to e!aluate andpresent their experience o" an expert patientprogra##e

• with staf and #anagers across grades in ahospital( using collage to articulate the goals and

aspirations and to clari"y the#es and obMecti!es to

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create the new $!e-year strategy "or nursing and#idwi"ery

• with a group o" &ractice =e!elop#ent Enits in auni!ersity healthcare depart#ent( using collage asthe "oundation to de!elop a co##on strategy andpurpose

• with a tea# o" nurses in an N): Trust( to clari"ythe issues( challenges and goals in an actionresearch proMect "or i#pro!ing care "or olderpeople( and to #ake sense o" their research data

• with senior nurses in a hospital( "or e!aluating andpresenting the i#pact and outco#es o" a RoyalCollege o" Nursing Clinical ;eadership&rogra##e

&atients who worked with collage "or the expertpatient progra##e shared that% @it was great3 feltmore positive! and @every$ody should have theopportunity to use it!%

>anagers ha!e said that this way o" working hasbeen% @very valua$le! "or !isioning the "uture( and @a fantastic way of presenting an evaluation!%

Nurse practitioners ha!e co##ented that% @thecollage creating really helped me to think in adi;erent way which 1 really needed! and @it!s a verypowerful tool which may $e used in a num$er ofsettings!

@##a CoatsIndependent Consultant and Hacilitator lche#y Consulting( ;ondone-#ail% e##alcoatsyahooco#

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mailto:[email protected]:[email protected]


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Practice example 2: ance in health

There are #any exciting and challenging di#ensionsto be explored in #edicine3s Mourney towards a #ore

holistic approach to healthcare /ne o" the #oreunlikely di#ensions to take pro#inence in healthprogra##es in recent years in Northern Ireland hasbeen the creati!e di#ension o" caring Introducingthe Arts into health progra##es has led to theengage#ent o" '9 pro"essional artists "ro# diferentdisciplines under the u#brella o" the charitableorganisation( rtscare

s a ;aban-trained co##unity dance teacher( I ha!ebeen the rtscare dancer-in-residence "or the last '0 years at Fnockbracken )ealthcare &ark( :outh and@ast 7el"ast )ealth and :ocial :er!ices Trust(Northern Ireland I deli!er weekly progra##es o"co##unity dance to ser!ice users and stafthroughout the Trust( as well as "ul$lling the role o"artistic director "or /rbit =ance /rbit =ance is theresident dance co#pany at :outh and @ast 7el"ast)ealth and :ocial :er!ices Trust The dancers attendday-care ser!ices "acilities and are adults withlearning and physical disability >y dance workshopsare now an integral part o" the health and art culture

that exist side by side at the large psychiatric ca#puswhere I work and share #y residency with a !isualartist and #usician s a dance artist( #y creati!ework is ne!er co#pro#ised( nor do I "eel that I lose#y integrity as a creati!e pro"essional by working ina health en!iron#ent I deli!er #y work as a dancepro"essional and not a dance therapist I do( howe!er(respect the role o" the dance therapist withinhealthcare

di!erse range o" health ser!ices such as acute

#ental health( de#entia care( day-care ser!ices and young people3s ser!ices access the weekly creati!edance progra##es( either on- or of-ward The of-ward dance workshops take place in the rtscare=ance :tudio at Fnockbracken )ealthcare &ark This"ully-e*uipped dance studio within a healthcaresetting pro!ides a #uch-needed creati!e space "orstaf and ser!ice users to explore( through the#ediu# o" dance( their own sense o" identity andcreati!ity( hope"ully contributing to a heightenedsense o" wellbeing I ha!e obser!ed people through

dancing together negotiate creati!e solutions to

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co#plex personal and pro"essional issues within asupporti!e( caring health en!iron#ent

)ealthcare( like education( can o"ten be abouttargets( testing and co##ercialis#( thus narrowingthe i#aginati!e space necessary "or sel"-e!aluatingand sel"-disco!ery Today we celebrate the newpartners o" health such as dance( which pro!ide analternati!e language that can be used as a tool inhealthcare to gi!e expression to our deepeste#otions( thus nurturing the soul )ealthcare canso#eti#es be dislocated "ro# the co##unityexperience )owe!er( experience o" a sustainablearts in health culture( as established here inNorthern Ireland( de#onstrates that co##unity#odels o" healthcare can be enhanced by

engage#ent with the creati!e process

aine and /rbit =ance( resident danceco#panies( :outh and @ast 7el"ast )ealth and :ocial:er!ices Truste-#ail% MennyelliottM"sworldcouk

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Practice example !: "sing creativit# in learning anddevelopment

?estern society struggles to e#brace ageing as a

positi!e aspect o" li"e and so#ething that happensthroughout the li"espan s we age( #any aspects o"our li!es change( grow( de!elop and di#inish 1 allpart o" nor#al li"e change Hor this reason( the ideao" transitions3 in ageing has beco#e i#portant( ashas the need "or all o" us to understand that how wedeal with transition can help us adapt to our ageingprocesses and responses ?ith this agenda in #ind(The Royal 7ank o" :cotland Centre "or the /lder&erson3s genda http%GGwww*#ucacukGopaG held aworkshop "or older people( pro"essional and lay

carers and !olunteers to explore transitions inageing3 The workshop was "unded by N): :cotlandas part o" its .ental health and well$eing in later lifeprogra##e The workshop explored the idea o"transitions3 in li"e and how we deal with the# It wasintended that at the end o" the workshop we wouldha!e a better understanding o"%

• what transitions are

• what transitions #ean to us personally

• how we can #anage transitions and grow throughthe#

• how to enMoy transitions in li"e and celebrate the#as a nor#al part o" li"e

I "acilitated the workshop 5"our hours repeated twiceduring this day The purpose o" the workshop was toexplore the #eaning o" transitions "or all o" us in ourli!es( beco#e aware o" our e#otional andbeha!ioural responses to transition and explorestrategies "or #anaging transitions In "acilitating the

workshop( I used creati!e approaches to explorationin order to integrate indi!iduals3 personal knowledgewith established conceptual #odels ?e worked with#etaphor( !isualisation( i#ages( paint and clay inorder to generate indi!idual and collecti!eunderstandings o" transitions and their #eanings@ach participant produced indi!idual creations in the"or# o" collage( sculpture or creati!e narrati!e toillustrate their understandings and experiencesThese creati!e responses were analysed indi!iduallyand as a group and linked to a conceptual #odel o"

transition Fey issues "or dealing with transitionswere de!eloped and shared

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http://www.qmuc.ac.uk/opa/current/http://www.qmuc.ac.uk/opa/current/


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Hor #ost participants in the group( this was their $rstexperience with the use o" creati!e approaches tolearning )owe!er( so#e co##ents "ro# participantsindicated that the creati!e approach was a re"reshingand rewarding experience% @learning does not have to

$e academic!U @art is therapeutic!U @interactivemethods can work!

&ro"essor 7rendan >cCor#ack( =irector o" NursingResearch and &=Royal )ospitals TrustGEni!ersity o" Elster( Nursing=e!elop#ent Centre( ,rd HloorRoyal ictoria )ospital( Bros!enor Road( 7el"ast7T'2 6& e-#ail% brendan#ccor#ackroyalhospitalsn-inhsuk

© 2006 RCNI 0

mailto:[email protected]:[email protected]:[email protected]:[email protected]


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Practice example $: %rea&ing down the walls of silence:transforming services for people with dementia

This redesign proMect took a whole syste#s3

approach to the i#pro!e#ent o" ser!ices "or peoplewith de#entia in :windon( ?iltshire The redesigntea# was #ade up o" people "ro# all areas o" thedeli!ery and use o" the ser!ices%

• healthcare pro"essionals( #anagers andad#inistrators( "ro# pri#ary( co##unity andsecondary care

• social ser!ices pro"essionals

• ser!ice users and carers 1 who played an integralpart throughout the process( "ro# appraising the

e!idence to i#ple#enting new ways o" working

wide range o" creati!e processes( includingcreati!e workshops and collecti!e storytelling( wasused as a central part o" the redesign process( allwithin an underpinning "ra#ework o" co#plexitytheory The purpose o" a creati!e approach waspri#arily to enable the redesign tea# to de!elop adyna#ic where they would be able to participate on a#ore e*ual "ooting This was achie!ed by a series o"creati!e workshops that helped to "acilitate the

e#ergence o" no!el ways o" acting( thinking and5sel"-organising &articipants engaged in collecti!estorytelling( which enabled the# to experience 1 andbetter understand 1 the ser!ice user3s Mourney andthe diferent roles that are played in that Mourney

Theatre and creati!e #ethods were also used todisse#inate research outco#es and to engage othertea#s in acti!e participatory learning >any otherser!ices ha!e been able to use this as a starting point"or their own redesign process( including a pilot in

7risbane( ustralia( which is now being i#ple#entedacross Vueensland

>arian and :haun Naidoo

Hor #ore details please contact%

>arian NaidooNI>)@ :er!ice =e!elop#ent Tea# and Naidoo and ssociatese-#ail% naidoowaitroseco#

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Practice example ': (he power of narrative fordemonstrating )ualit# of care

@!aluation is the declaration o" the worth and !alue

o" so#ething In healthcare settings this is the *ualityo" care the patient recei!es and the co#petence andpro"essionality o" all staf in!ol!ed Vuality carecannot be e!aluated solely by success"ul treat#ent 1by statistical or e!en descripti!e outco#e data The*uality o" the caring process 1 the relationshipsestablished( attention to patient choice and "a#ilywishes( and interpro"essional agree#ent and action 1is integral to any Mudge#ent o" the *uality o" care Itis here that the creati!e arts can pro!ide data andunderstanding that is not accessible by other #eans

Take( "or exa#ple( the case o" palliati!e care and the"ollowing edited scenario o" a detailed narrati!e( oneo" a nu#ber o" #ethods that could be used to pro!idee!idence o" *uality o" care The "ull narrati!e outlinese!ery decision and action taken in this case topro!ide *uality care to the patient and the "a#ily(while at the sa#e ti#e supporting the nursing stafwho cared "or the patient

In this exa#ple( a nurse consultant "aces the dificultcase o" an elderly patient with end-stage li!er diseasewho has beco#e paranoid as a result o" toxins "ro#her li!er :he stands in the #iddle o" the ward withher case packed( accusing the nursing staf o" tryingto poison her t the sa#e ti#e she is "rightened andanxious( as indeed is her daughter who arri!es on theward shaking with tears

The senior nurse tries to placate the patient but soonrealises that the only way "orward is to sedate her:he is reluctant to do this 1 to sedate a patient who isstill well enough in her body to stand and walk 1 but

"eels( a"ter trying to seek ad!ice "ro# the consultantand talking with the patient3s daughter( that this is adigni$ed option in her current state Bi!en thepatient3s paranoia and her wish to stay in control(gi!ing the inMection pro!es to be a #ost dificult andtrau#atic task "or all concerned

The senior nurse who ga!e the inMection subse*uentlywrote a six-page narrati!e describing e!ery decisiontaken and the reasons "or those decisions in situ ande!ery interaction and e#otional reaction o" the

nursing staf( the patient( the daughter( and othercolleagues on the ward

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It is a #ost sensiti!e portrayal o" the co#plexity o"decision-#aking in a highly-charged e#otionalsituation( where thinking and acting *uickly isi#perati!e but also needs to be sensiti!e to patientand "a#ily wishes It de#onstrates without a shadow

o" a doubt the *uality o" care the nursing staf( in thisinstance( ga!e to the patient( to the daughter and( inthe process and a"ter#ath( to each other

Narrati!e portrayal captured the !alue o" this caringin a way no other #ethod could ideo 5e!en i" accesswere granted #ay ha!e enabled others to Mudge the*uality o" aspects o" the caring and outco#e)owe!er( it would not ha!e de#onstrated thesubtlety and co#plexity o" the caring( which thedetailed reasoning built into the narrati!e did( and it

would ha!e been insensiti!e in this context to seek !ideo access The narrati!e pro!ides the reasonede!idence that persuades and de#onstrates the*uality o" care

)elen :i#ons :ue =uke&ro"essor o" @ducation and @!aluation Researcher( :chool o")ealth and :ocial CareEni!ersity o" :outha#pton /x"ord 7rookes Eni!ersity)igh$eld( :outha#pton arston( /x"ord:0'D '7< /W, 0H;

e-#ail% hsi#onssotonacuk e-#ail% sd''sotonacuk hsi#onstalktalknet

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mailto:[email protected]:[email protected]:[email protected]:[email protected]


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© 2006 RCNI 4JanDewing

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Practice example *: (he use of creative arts in researchwriting

Those concerned with research and practice

de!elop#ent processes that o"ten re#ainunexa#ined and i#plicit in the shadows arebeginning to use creati!e arts to light the# up "orcritical re!iew Hor exa#ple( ngie Titchen and )ilary7yrne r#strong ha!e written a chapter "or a"orthco#ing book( Being critical and creative in7ualitative research Their chapter( 2ancing withlight and shadows( is an exploration o" the hidden"acilitation processes that enable the critical( creati!eand soul-"ull beco#ing3 that can occur through*ualitati!e research These "acilitation processes are

explored through the #etaphor o" a dance in $!e#o!e#ents and by using a poetic writing style Thedance is situated at the edges o" the light and theshadows( through which artistry( creati!ity( personalethics( spirituality and soul e#erge as keyper"or#ers

The chapter is about re-directing and "acilitatingone3s own Mourney and those o" others towardsresearch that is trans"or#ational "or those in!ol!edThis #eans enabling the critical( creati!e and

spiritual beco#ing o" sel" and others The dancesy#bolises the courage needed( and thetrans"or#ational and !isionary *ualities andstrategies needed( to work at the boundary o" orderand chaos and to li!e trans"or#ational *ualitati!eresearch

The dance i#pro!ises and har#onises diferentaspects o" sel"( and accesses spirituality andsoul"ulness in research It was inspired through ngie3s critical co#panionship 5a holistic "acilitation

relationship with 7rendan >cCor#ack( whowitnessed and pointed out the unseen shadows in oneo" her own literal dances This witnessing and"eedback encouraged 5e#phasis on the courageX ngie to depart "ro# traditional "or#s o" researchwriting

The result is a piece o" work with the potential todeepen the articulation o" "acilitation and researchartistry( in the context o" creating healthy( respect"ulpeople spaces and enabling hu#an +ourishingthrough research

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@6ested in the dance and cradled in'ommunities of 8uman :lourishing3 0thers hear the &ecrets of +ife and improvise the steps tomake them their own% 1t is time to dance the&oul $ack homeC to relationships3 to research

and its politics and to life D!5Titchen and 7yrne r#strong( in preparation

Titchen( and 7yrne r#strong( ) 5200D( inpreparation Redirecting the !ision% dancing withlight and shadows In )iggs(


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situations Then it is only playing around It can difer"ro# theory( but you #ust articulate it and link it towhat is out there

s I use creati!e arts as a "acilitator #ore o"ten( Iha!e beco#e co#"ortable in their use( and inexplaining their use to others ?hat helped #e to#o!e "ro# "eeling unco#"ortable to "eelingco#"ortable is seeing that it works( that you co#e toother results( other conceptualisations o"( "orexa#ple( what trans"or#ational practicede!elop#ent is :o it gi!es you other perspecti!es oncertain concepts This helps practice de!elop#ent(because you de!elop it "urther( and it is not stuck to aparticular de$nition or concept

?hat I see happening with participants at practicede!elop#ent school is that they $nd they know #oreabout practice de!elop#ent than they thought I" youask the# to explain what practice de!elop#ent is(they don3t go that "ar in explaining it 7ut i" theyexplain it in a creati!e way( they realise that theyknow a lot #ore nd that is good to see Theparticipants are then also !aluing creati!e work as away o" de!eloping their knowledge t $rst #aybethey ha!e the sa#e unco#"ortable "eeling as I had(but when they do it( and a"terwards when they

explain it or present it to others( they see how itworks The bene$t o" unco!ering what they know#akes it easier "or the# to use it in their ownpractice( and to explain it and show it to others intheir working en!iron#ents It is #ore than readingwhat is out there in the literature o" practicede!elop#ent( and re#e#bering it It is easier to do itthis way( and it is easier to trans"er to others too

I" you notice that the #e#bers o" a group are not"eeling co#"ortable with creati!e arts( or see#unwilling to use creati!e arts( and you still use theapproach( I think you will lose the# on a course :o itis i#portant to try to $nd the right way to use it witheach group( and gi!e the# the "reedo# to use it ornot

I ha!e used creati!e arts with the practicede!elop#ent schools( with the #anage#ent tea# and"or a study day with nursing staf ?e used it as a wayo" expressing the current culture in the nursingdepart#ent( and how they would see an efecti!e or"uture culture

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I experience that I use the principles o" usingcreati!e arts in other situations too Not Must increati!e acti!ities( but also in #eetings It is #ore orless in the ground-rules o" using creati!e arts that you use the# in #eetings It is about being conscious

or aware o" what I a# doing( and what others aredoing In so#e #eetings I "eel I could co#"ortablyuse creati!e arts 1 where I think people are open "ordoing this( they will take it seriously 7ut I can3t do itwhen I "eel that they will only laugh at it( and nottake it seriously

I ha!e used angel cards in a #eeting( and I ha!e used !isual i#agery in presentations I took pictures o"participants doing their i#age theatre at the lastpractice de!elop#ent school as an exa#ple o" how

you can use it I presented pictures that show thatthere has been a trans"or#ation o" nursing culture inthe last '0 years( with regards to what they wouldsee as an efecti!e working place "or nurses andstudents I" you look care"ully at those pictures( theytell the whole story

Hor so#eone starting to work with creati!e arts( Iwould explain why we do such creati!e work( then doit together( and( ha!ing done it( articulate why we didthose things nd I would say it is "un 1 I can say that

nowX I can see why it works 1 the e!idence is thereIt3s "un to do I can let go o" the unco#"ortable"eeling nd i" you see what you are going to get outo" it( it is really "un to do

Faren Cox( Clinical ChairFnowledge Centre "or @!idence 7ased &ractice(Hontys Eni!ersity "or pplied :ciences( @indho!en(The Netherlandse-#ail% kcox"ontysnl

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Path 2 nformation on the creative c#cle

s in any $eld( there are diferent theories and

conceptual "ra#eworks about the creati!e process couple o" theoretical "ra#eworks that #ay be use"ul"or you are su##arised below .ou can use thesetheories to "urther de!elop your understanding o"creati!ity .ou #ay like to si#ply read thedescriptions or you #ay want to do so#e #oredetailed work with the#( such as re+ection on yourown practice with the theory There is so#e guidanceand preparation you #ight like to explore $rst i" youare going to work in this #ore detailed way I" not( Must skip this next section and go straight on to

reading about the "ra#eworks

Guidance

Take a "ew #o#ents to read the Preparation notesbelow and then study the two theoretical descriptionso" creati!ity by Fiebert and Robbins .ou #ay need'9120 #inutes "or each o" the two descriptions asthere are *uestions to help link your experience tothe !arious concepts This acti!ity will pro!ide an

opportunity to enhance your understanding o" thesuccesses( challenges and needs o" your creati!epractice when being creati!e yoursel" or when youare working in a "acilitati!e way with others

Preparation

)a!e a notebook and pen with you and #ake sure you ha!e a *uiet or relaxing space around you

;et your #ind start to recall creati!e experiences you

ha!e been in!ol!ed with and then "ocus on a "ew o"the# Hor exa#ple( you could #ake use o" theexperiences you ha!e had with this creati!e resource(perhaps in one o" the acti!ities in &ection A nycreati!e experience o" your choice is $ne Now when you are ready( hold two experiences loosely at theback o" your #ind .ou #ight Must want to #ake a "ewnotes about the key points in each experience s youread through the two theoretical "ra#eworks below(use one o" your experiences with each to learn #oreabout how the stages presented by the authors relate

to your own experience There are short *uestions

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a"ter each stage to help "ocus your re+ections I" youthink o" any #ore *uestions #ake a note o" the#

Kiebert’s creative cycle

The artist Coeleen Fiebert 5see Fiebert( 200'presents the creati!e process as $!e stages in acontinuous cycle

Stage 1: Statement of intention

The $rst stage is choosing a "ocus and #aking aco##it#ent to a creati!e intent .ou could co#parethis to choosing to do an acti!ity in &ection A o" thisresource or any other creati!e acti!ity

Re+ection cues% Take a "ew #o#ents to Mot down your

thoughts in response to the "ollowing *uestions%

• =id you pay attention to this stage

• )ow well did you #ake your intent clear whendeciding to be creati!e

• ?hat helped you to co##it to your own creati!eprocess and to "ollow it through

Stage 2: Gathering

This stage has both a practical and attitudinal aspect

It is about preparing your en!iron#ent( collecting your #aterials( and deciding to engage with acreati!e acti!ity There is a "eeling o" #o#entu#building( though there #ay be doubts( struggle anduncertainty Fiebert says she "ound( it was necessaryto actually not know where I was headed in order "ora new understanding about creati!ity to co#e "orth35Fiebert( 200'% ,,

The gathering stage can be co#pared to gettingready to do one o" the creati!e acti!ities in &ection A

and starting it( e!en though you #ay be unsure aboutwhat you are e#barking on( and nothing is clear Thiscan be a challenging stage( and re*uires trust in"ollowing an acti!ity through It can be co#pared toFeats3 dictu# about negati!e capability discussed in&ection A o" this resource

Re+ection cues% Take a "ew #o#ents to re+ect onhow you experienced the gathering stage

• ?hat helped you to stay in this stage e!en i" you"ound it dificult

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• ?hat did you think your 5or others3 needs were inthis stage( and how did you support the#

Stage 3: Explosion

This stage is about beco#ing absorbed in the

creati!e process It #ay consist o" actual art #aking 1in any #ediu# 1 or recei!ing insights or i#ages in your #ind It is characterised by $nding yoursel"co#pletely caught up in a creati!e acti!ity( with all your attention absorbed in what you are doing orexperiencing .ou are engaged and "ully co##itted towhate!er is happening and all doubt and uncertaintyhas dissol!ed

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Re+ection cues% aking sure you ha!e enough ti#e "or :tages 4 and 9is an i#portant part o" creati!ity 7eing able tosupport yoursel" and others to re+ect and learn is

!ital .ou can achie!e #uch "ro# sharing with othersand criti*uing creati!e experiences s you de!elop your own creati!e potential( you will disco!er theti#ings needed "or each aspect o" the cycle Thenature o" any creati!e endea!our re*uires diferentperiods o" ti#e and there is no hard and "ast rule

Hinally( ha!ing studied this cycle( #ake so#e notesabout%

• the stages you $nd easy or less easy to be with

•

any stages you would like to pay #ore attention towhen being creati!e yoursel" or when "acilitatingothers

• any other stages that you think should be added tothe cycle

• any o!erall learning or changes you #ay want to#ake to your own creati!e practice as aparticipant or "acilitator( ha!ing studied this cycle

Feep your notebook with you( i" you want to workwith Robbins3 description

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obbins’ creative cycle

There are co##onalities and diferences betweenFiebert3s concept o" the creati!e cycle and that o" thewriter and creati!e practitioner ;ois 7 RobbinsRobbins describes six stages in her "ra#ework 5seeRobbins( '89

PreparationRecap on the thoughts and notes you #ade about your second creati!e experience and hold it loosely atthe back o" your #ind as you study the "ra#eworkbelow

This su##ary o" Robbins3 cycle( "ro# her bookWaking up" in the age of creativity3 was presented by=J ?helan at a se#inar presentation 5lternati!es(:t


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@At this stage a pro$lem is identied3 a challenge set%!

This has parallels with Fiebert3s state#ent o" intent

Re+ection cues% Take a #o#ent to think about%

•

whether you ga!e the right a#ount o" ti#e to thisstage( "ro# the experience you ha!e chosen

• what would ha!e helped you to gi!e an ade*uatea#ount o" ti#e to this stage( so that theco#plexity or si#plicity o" the creati!e acti!ity youwere working on was gi!en enough attention

Stage 2: $rustration

@There is no way of getting around this phase%'onfusion3 chaos3 am$iguity and some distress arenecessary parts of the creative process and often$ecause people see this frustration phase as failureor $ecause they are not expecting it they arediscouraged and give up% People have di;iculties with feelings of am$iguity and they don!t stay with thisprocess% They settle for a less than elegant solution$ut one that will allow them to get on with it% Thistype of response is encouraged in our society%!

This links in with Fiebert3s gathering stage

Re+ection cues% Take a #o#ent to Mot down so#e

thoughts about the "ollowing%• =id you "eel "rustrated during the creati!e acti!ity

you were engaged in

• )ow did you support or challenge yoursel" so that you could continue

• ?hat are your thoughts and "eelings now abouthow to support others i" they get "rustrated whenbeing creati!e

Stage 3: %ncu&ation

@The task is held $y your awareness – consciousenergy is not at this point $eing expended in tryingthis or that solution – it is on the $ack $urner% Bydeveloping a tolerance for am$iguity one is a$le toallow a pro$lem to cook or incu$ate% 0ne can allowthe 7uestions to sink down into the deeper layers ofthe unconscious where the source of the creativitycan work on it%!

This stage is like a deepening o" Fiebert3s gathering

stage be"ore getting to explosion

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Re+ection cues% Take a #o#ent to re+ect on these*uestions%

• =id you recognise this stage and gi!e it ti#e

• )ow could paying attention to this stage be

help"ul "or you in the "uture

Stage : %llumination

@This stage is a$out living in the mystery3 letting go of the rational mind to allow the A8A experience tohappen%!

The ) #o#ent includes diferent di#ensions o"experience It can be%

• the #o#ent when creati!e work co#es togetherand so#ething "eels Must right

• ha!ing an experience o" a breakthrough so that you instincti!ely know what to do next

• when an insight e#erges in your #ind thatproduces new understanding

This is si#ilar to the stage Fiebert calls explosion(and could be seen as another di#ension o" it

Re+ection cue% Take a #o#ent to recall this stage"ro# the creati!e experience you are holding at the

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Re+ection cues% )a!ing studied Robbins3 stages( takea "ew #o#ents to think about and #ake notes on%

• how Robbins3 stages related o!erall to your owncreati!e experience

• which o" the stages you enMoyed and which you"ound dificult or paid less attention to

• any stages you would add or change in the "uture

• how you could support your own or others3 needs#ore efecti!ely during any o" the stages that you$nd challenging

!ummary

.ou can use the two "ra#eworks ofered here in a !ariety o" ways They can enable you to be #ore"ocused in attending to all the aspects o" creati!ityand they can enable you to see where your strengthsand areas "or de!elop#ent lie .ou can use one orboth o" the# as tools "or re+ection on your ownpractice and as a teaching tool to enable others tobetter understand creati!e processes

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Path ! Warm-up and relaxation activities,and wor&ing with guidedvisualisation

)ere are so#e ideas you can use as a "acilitator tohelp a group to "or#( establish a creati!e cli#ate andbring out creati!e energy and connections betweenpeople >ake notes or print out any ideas you want touse :killed "acilitators will ha!e a wide range o"creati!e acti!ities that they draw on "or opening andclosing groups and "or use as part o" key learningacti!ities .ou can always be on the lookout "or newideas >ost "acilitators do not #ind you taking away

and using or adapting their ideas 1 but it3s alwaysnice i" you ask the "acilitator $rst

I" you ha!e not used creati!e war#-up or relaxationacti!ities be"ore( test the ideas you are drawn tobe"ore working with a group .ou can do this on yourown by i#agining how you would introduce theacti!ity and its purpose and get the group started .ou #ight like to consider how you would respond toreticence or anxiety in the group( which can be anobstacle >aybe you can practise with "riends or

close colleagues so that you get a "eel "or your owncon$dence and sel"-presentation as a "acilitator andother people3s reactions and responses This will helpin"or# your "acilitation practice

.ou #ay wish to use these ideas to%

• support people to introduce the#sel!es and get toknow so#ething o" each other beyond their rolerelationships( as this will ser!e the energy andpurpose o" the group

• begin a #eeting or workshop in a creati!e way( asthis will act as a catalyst "or encouraging people tothink out o" the box3 "ro# the start o" the session

?hen "acilitating you will need to think about how tointroduce any o" the ideas listed here and whatco#es a"ter such an acti!ity( so that your acti!ity+ows well within the o!erall structure o" a session

"sing postcards or ob#ects

This acti!ity can be done with s#all or large groupsThe larger the group the #ore ti#e is needed skparticipants to bring a postcard or obMect o" their

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choice "ro# their ho#e( work( or the naturalen!iron#ent that is signi$cant to the# in relation tothe issue on which the group is working t anappropriate point in the early stages o" the sessionask people to take it in turns to talk brie+y about

their obMect or postcard 5s the "acilitator( you willneed to decide whether or not it is appropriate tobring an obMect or postcard yoursel" .ou will $ndthat working in this way opens up understanding andnew perspecti!es about the issue or people3srelationships to it

Hor larger groups you can adapt the acti!itydepending on the nu#ber o" people present and theti#e you ha!e a!ailable

Y sk people to work in twos( threes or "ours(describing their obMects or postcards to oneanother "ter people ha!e shared( ask one person"ro# each s#all group to su##arise what hasbeen learnt about the issue "ro# sharing in thisway

Y I" there is #ore than one "acilitator( you can di!ideinto s#all groups o" $!e or six( each with a"acilitator( and ask people to share their obMect orpostcard either indi!idually or in pairs in theirs#all groups The "acilitators will then need to

su##arise people3s sharing !erbally or on+ipchart sheets( so that when the whole groupco#es together e!eryone can learn what wasshared in each group

Wor$ing with collage or cards

Ese collage i#ages 5colour and black and whitepictures cut "ro# newspapers and #agaKines( whichthe "acilitator #ay supply and ask people to pick an

i#age "ro# the collage selection that con!eysso#ething o" i#portance to the# about the purposeo" the session or how they are "eeling( and then shareusing any o" the options abo!e

lternati!ely( you #ay wish to use cards( such as ngel cards or >edicine cards In!ite participants topick a card at the beginning o" the session as asource o" inspiration "or the purpose o" the session ngel cards pro!ide inspiration using a si#ple i#ageand a single wordU >edicine cards are #ore detailedand gi!e descriptions o" *ualities associated withdiferent ani#als that are pro!ocati!e and inspiringThere are a wide range o" inspirational cards( which

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can be bought in large bookshop chains( that you canexplore and #ake use o" in your group-work or with yoursel"

%iving map

Hor larger groups o" #ore than 20( you can createconnections between people and create a buKK o"energy by using a li!ing #ap "ter the introductions(and at an early point in the #eeting( di!ide the roo#into areas which relate to a the#e( "or exa#ple( how"ar people li!e "ro# the !enue you are #eeting in5assu#ing you ha!e a big enough space "or people to

stand in Hor exa#ple( one area o" the roo# couldrepresent up to 9#iles away( another area 9120#ilesaway( another o!er 20#iles /nce people arestanding in the rele!ant area( ask the# to introducethe#sel!es to one other person( and chat broadlyabout why they are attending the session or what3si#portant "or the#( and their expectations Then youcan ask each pair to Moin up with another pair( and$nd out the co##onalities and diferences in whyha!e they ha!e co#e and their expectations

.ou can adapt this process( and use the seasons5asking people to stand in the area o" their "a!ourite

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season( or stand in the area that is their sign o" theJodiac( or any other sorting de!ice that is use"ul andappropriate "or the people with who# you areworking

&ow to wor$ with guided visualisation

This section describes guided !isualisation andexplains how it can be used( and ofers help withusing guided !isualisation with others

What guided visualisation is and how it can be used

Buided !isualisation is about%

• balancing le"t-brain thinking 5rational( analytical

thinking with right-brain acti!ity 5creati!ei#agination

• exploring how we can use our creati!e i#agination

• tapping into the i#aginati!e and story-#akingaspect o" the sel"

Benerally in guided !isualisation( participants arein!ited to use their i#agination to experience a storywhich acts as a #etaphor "or an issue that isi#portant to the#

Hor exa#ple( in relation to exploring what practicede!elop#ent entails( participants #ay be in!ited toi#agine the#sel!es going across three $elds in orderto get to a #eadow The $rst $eld is #uddy( thesecond is "ull o" bra#bles( the third is stony )a!ingcrossed these $elds( they arri!e at a beauti"ul#eadow( with a strea#( and sunshine( and the soundso" birds singing &articipants are in!ited to enMoy the#eadow( and to $nd a pot o" gold there "terspending ti#e in the #eadow( participants are in!itedto bring the i#aginati!e pot o" gold back to e!eryday

reality( using it as a container "or their ideas aboutpractice de!elop#ent

&articipants are asked to share with each other theirre+ections on what crossing the three $elds #eans tothe# in relation to practice de!elop#ent( and whatideas their pot o" gold holds that they wish to act on

This pot o" gold3 !isualisation is Must one exa#ple 1each "acilitator is likely to build up a repertoire o"guided !isualisations to choose "ro# Buided !isualisation can also be used with other tools 1 "or

exa#ple( International &ractice =e!elop#entCollaborati!e school "acilitators ha!e co#bined

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guided !isualisation with a !alues clari$cationexercise to help participants create a shared !isionand co##on purpose about a practice de!elop#entinitiati!e

Buided !isualisation can be an efecti!e way o"inspiring people to #o!e beyond habitual consciousthought and to connect to a diferent wisdo# withinthe#sel!es that generates insight and new ideasabout signi$cant issues

=ina Blouber#an( who specialises in the use o"i#agery "or personal( pro"essional and organisationalde!elop#ent( has coined the ter# imagework todescribe the i#portance o" i#agery and i#aginationas a source o" knowledge and wisdo# :he describesi#agination as%

@the ground of our $eing% Whatever we create inour lives3 whether it is an omelette3 amultinational corporation or a love a;air3 $eginsas an image in our minds%!

5Blouber#an( '88% 2

)er book +ife choices and life changes throughimagework" the art of developing personal vision haslots o" exercises "or guided !isualisations 5ori#agework as she pre"ers to call it :ee also Bawain

5'88 on the purpose o" and working with guided !isualisation

Practising guided visualisation

.ou can learn what helps guided !isualisation workefecti!ely "or you and colleagues by #aking up ashort !isualisation &erhaps( "or exa#ple( going on a Mourney up a #ountain to #eet a wise person(recei!ing a gi"t and then co#ing back down the#ountain and integrating the gi"t into your li"e

Notice what kind o" !oice tone( style and words help you( and what gets in the way( as you take it in turnsto guide each other through the story

I" you ha!e any anxieties about experiencing ortelling a guided !isualisation( share these withcolleagues or "riends( and $nd out by practising in asa"e situation what helps to settle any anxieties you#ay ha!e This will( in turn( help you to respond toanxieties others #ay ha!e i" you lead the# in aguided !isualisation

.ou can also get C=s or tapes on guided !isualisationor guided #editations "ro# alternati!e bookshops(

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#ainstrea# bookshops and libraries ;isten to howthese are done( and to the *ualities and style o" thespeaker Hind out by listening to a speaker what it isabout their style that does it "or youX

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How to facilitate a guided visualisation

Before starting Explain the purpose of the visualisation to the participants,

and how it links to the overall context of what you are doing.

Respond to any questions or anxieties that people have. Make

sure participants have permission not to engage with it if they

don’t wish to, moiles are turned off, and that the

environment you are working in is calm and won’t e

interrupted.

!entre yourself internally" take a few deep reaths, feel your

feet on the ground, or settle into the chair you are sitting on,

so that you feel grounded and relaxed, and imagine that you

are ecoming a story teller within the oral tradition.

#nvite your group to relax y taking some deep reaths and to

settle into the chair or relax onto the ground they aresitting$standing on. %sk people to shut their eyes if they wish

to.

&oice tone 'se a calm and meditative style rather than an arupt style (

perhaps like reading a story to a child. )owever, when you

ring people ack to the here and now, alter your voice tone

to fit more with everyday reality, ut don’t alter your voice

too aruptly.

*tyle #t is important that you tell the visualisation from an attitude

of experiencing the visualisation within yourself, so the

visualisation is emodied in you and you see and experiencethe images as you tell the visualisation to others. +ou may at

moments wish to close your eyes as you tell the visualisation,

and alance this with keeping your eyes open to stay attuned

to the group.

on’t rush- Make sure you have enough time to tell the

visualisation and for participants to reflect on it afterwards

without time pressures.

Ending hen you have rought people ack to the reality of the

present, ask them to stretch their hands and toes, feel

whatever they are sitting or standing on and to slowly take in

their surroundings.

/ext steps 0here are choices aout what to do after the visualisation has

ended. +ou may want to invite participants to share in pairs or

small groups what they learned or experienced during the

visualisation. 1r it may e appropriate to invite people to draw

or paint aspects of their visualisation, or to write a poem, or

to note down in prose style what was important for them.

hen participants have finished their reflections, ask them

to feed ack what they gained from the guided visualisation,

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and to clarify any ostacles and what would help to improve

the experience.

The process o" guided !isualisation has parallels withimagini(ation%

@1magini(ation isF an approach to change Dunderpinned $y the idea that human awarenessand knowledge have an unfolding transformativepotential and that the images and ideas peoplehold of themselves and their world have a fundamental impact on how their realitiesunfold%!

5>organ( '88,% 2D9

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.ist of references

rts Council @ngland 52009 Arts3 creativity and health inthe &outh East( 7righton% rts Council @ngland:outh @ast

7oal( 52002 Games for actors and nonactors 5secondedition( ;ondon% Routledge

Coats( @( :tephens( B( Titchen( ( >cCor#ack( 7(/dell->iller( )( :arginson( ( )of#an( C(Hrancis( :( &etrone( >( >anley( F( &hilipp( R(Naidoo( > and >c;oughlin( C 52004 'reative artsand humanities in healthcare" swallows to othercontinents( ;ondon% The Nufield Trust !ailableat%http%GGwwwnufieldtrustorgukGpolicyareasGdetailaspprI=O',8PyearO

=ilts( R7 5'886 #isionary leadership skills" creating aworld to which people want to $elong( Capitola%>eta &ublications

Hreshwater( = 52004 @#otional intelligence% de!elopinge#otionally literate training in #ental health(

.ental 8ealth Practice3 54( =ece#ber( pp'21'9

Bawain( : 5'88 'reative visuali(ation )*th anniversaryedition( No!ato( C% New ?orld ;ibrary

Bittings( R 5editor 5'8D0 +etters of ,ohn -eats" a

new selection( ;ondon% /x"ord Eni!ersity&ress

Blouber#an( = 5'88 +ife choices and life changesthrough imagework% the art of developing personalvision( ;ondon% Enwin

Fiebert( C 5200' All of a sudden" the creative process(Rio =el >ar( C% Coeleen Fiebert5http%GGwwwcanyonartsco#G

>cCor#ack( 7 and Titchen( 52006 Critical creati!ity%#elding( exploding( blending( Educational Action

4esearch" an 1nternational ,ournal( '452( pp2,81

266

>eKirow(


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r#strong( ) and )ors"all( = Being critical andcreative in 7ualitative research( :ydney% )a#pden&ress

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The open doorway into the inner courtyard at The Abbey, Sutton Courtenay, symbolisingopportunities for creative working

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AngieTitchen


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/pening doors on creativit# 0 Feedbac& sheet

)ow did you hear aout this resource2

)ow effective do you feel this resource is for enaling practitioners to learn how to

develop practical skills and confidence in their own creativity2

%s a result of using this resource, how confident do you feel in adapting or using the

methods set out in this resource2

)ow effective is this resource in preparing you to feel confident to facilitate othersusing creative methods2

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hat three things did you like most aout the resource and why2

#s there anything else you would have liked to see in this resource2

)ow has your work with colleagues changed as a result of using this resource2

)ow has your work with patients changed as a result of using this resource2

&lease return !ia e-#ail or post to%

d#inistrator&ractice =e!elop#entRoyal College o" Nursing20 Ca!endish :*uare

Opening Doors (5): Palette of resouces

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