liana don - creative intervention in supervision.pdf

8/17/2019 Liana Don - Creative intervention in Supervision.pdf

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CREATIVE INTERVENTION IN

SUPERVISION Liana Don


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One of the most difficult aspects of psychotherapeutic practiceconsist in the necessity and the process of supervision, as a tool foreach therapist to assume his practice. Usual in the protocol ofsupervision , the therapist is the one who manage the case and thehypothesis of the inner, actual and basic conflict.

The five steps intervention in Positive Psychotherapy permit toaccess and structure all the information about the client problems,which consist in the in all the strategic interventions to solve the

problems or conflicts.

Creative supervision interventions are suggested to besupportive for psychotherapists. Yet, empirical evidence of the utilityof such interventions is limited.


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INTRODUCTION

Supervision is considered an essential element inensuring uality care in the therapeutic field

Supervision begins while therapist are in theirtraining programs, and often continues throughouttheir professional livesSupervision addresses the goals of learning how toconceptuali!e cases, utili!e appropriate techni uesand develop a theoretical orientation "#ernard $%oodyear&


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PURPOSE

'ithin these goals of supervision, therapistsdevelop

Self awareness(utonomy of action(bility to )relate* therapeutically to clients

(ttempt to develop increasingly more advanced caseconceptuali!ation s+ills#ecome more fle ible in their interventions over time'or+ through their own e periences of role ambiguity- plore the evolution of their personal and professionalselves as therapist over time


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T -/(P0ST

1-2-3OP4-5TCarl /ogers6 shared that primary goal of his

person6centered approach was to help superviseesgrow in their self6understanding and confidencePsychodynamic supervisors have a main goal ofhelping supervisees become aware ofinterpersonal dynamics which may help theirtherapeutic allianceCognitive6behavioral supervisors focus onsupervisees develop s+ills and also change theirthoughts and perceptions


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T -/(P0ST

1-2-3OP4-5T1evelopmental supervisors focus on facilitatingsupervisee growth through a variety of stages as

they evolve into competent therapists- periential supervisors attempt to not only ma+ethe unconscious conscious but also facilitate theability in supervisees to utili!e both intuition and

cognition, and enhance fle ibility in therapeuticinteractions


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The import of integratedfunctioning

Clar+son and 3eigh discuss theessential need for supervisionto integrate verbal andnonverbal processing insupervisionSpecifically, they discuss thehemispheric functioning in theterms of therapist duties 7 3eft6 logical and se uential

activities associated 7 /ight6 intuitive and

emphatic nature of therapy


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Carson "8999& addressed this concern intraining therapists. 4any training programs

made it difficult for trainees to acceptthemselves as innovators and creators. Thisis perhaps because trainees are oftenthought to apply the ideas of presumed

)e perts* and do not feel they have thefreedom to e press their own creative ideasor feelings


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3aughlin ":;;:& echoed this concern indiscussing the tendency of training

programs to focus on supervisees masteryof specific techni ues

e discuss the need to integrate support in

developing creativity, as rotely usingcounseling techni ues is not sufficient toeffectively help client


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Statement of the problem

(lthough the literature suggests a need for theintegration of more creative interventions into the

clinical supervision process, no uantitativestudies and only two ualitative studies werefound about such interventions( more empirical understanding of creative

supervision method is necessary to further thedevelopment and integration of this element ofsupervision


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Purpose of the study

The purpose of the study was to e plore 7 whether visual art enhances the clinical

supervision process 7 'hether or not supervisees found the use of art

in supervision to be beneficial, en


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ypothesis

8. Participants will en. Participant?s creativity levels will positively correlate

with their en


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4ethodology

Creativity is defined by %ough, all $#radley as a set of personological attributes

which )includes* 7 imaginitiveness, 7 Unconventionality

7 0ntuitiveness 7 -go strength


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Publications e ist which discuss modes of integratingcreative approaches into the supervision of therapists. Proposed creative methods range from very concreteand directed pictorial representations of information

"e.g. genograms&, to free form abstract e pression"e.g. music and undirected art&. (lthough the integration of these supervisionmethods is detailed in publications, the reportedefficacy of most of these approaches is not researchsupported.


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%-5O%/(4S

4agnuson ":;;;& utili!ed concrete visual representations in

supervision. The author used a genogram "a visual representation ofinterpersonal relationships and dynamics& in helping superviseesdevelop their professional identities.0n developing a professional genogram, the author contended thatsupervisees become more aware of the identities and bac+ground oftheir own supervisors and mentors.

0n this way, the author suggested supervisees are loo+ing at their professional family tree, and may notice influences on their own viewsof human nature as well as their approaches to effect change withclients.The author suggested that by e ploring their professional lineage,supervisees are e ploring their own professional identities.


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Sandtray techni ue

Another mode of integrating visual representation into supervision is thesandtra ! "hi#h is utili$ed to support marriage and famil therapsupervisees in their development %Dean!&''()* In this method! Deanprovided #lients "ith a #ontainer filled "ith sand! small o+,e#ts! and"ater "hile a supervisee o+served*

The supervisor allo"ed #lients to e-plore either "ith or "ithout dire#tiondepending on the issues presented* It "as e-plained to #lients that thismode of e-pression ma fa#ilitate the e-ploration of issues "hi#h arediffi#ult to put into "ords* In supervision! the supervisor fa#ilitated the supervisee.s e-ploration ofthe relational and e-periential aspe#ts of #reating a sandtra "ith the#lients*

The author #ontended that this pro#ess ena+led supervisees to ta/e a0metaposition1 %Dean! p* (22) regarding famil d nami#s versus+e#oming enmeshed in the #lients. d nami#s*Supervisees. rea#tions "ere then pro#essed in supervision and instru#tion"as provided to help them determine ho" to therapeuti#all use theserea#tions in future sessions "ith the #lients*

http://www.museumsnett.no/nasjonalgalleriet/munch/eng/innhold/ngm00939.html


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Stone sculpting

/obbins and -rismann "899:& utili!ed a supervision approach offeringa more free form venue, sculpting.( =6day wor+shop was held which focused on a verbal case

presentation format in the mornings and stone sculpting in theevenings. 0n discussing the utility of the approach, the leaders drewanalogies between the act of sculpting and wor+ing with clients "e.g.comfort with tools and techni uesB response to imperfection orincomplete wor+&.( basic premise of the wor+shop was that the unconscious will mostoften )spill out* "/obbins $-rismann, p. = ;& in artwor+. Theuncovering of unconscious material was proposed to be helpful inwor+ing through therapeutic issues./obbins and -rismann "899:& contended that sculpting offers a venuethrough which counter transference may be wor+ed through. owever,the authors cautioned that although facilitators may provideinterpretations and meanings in this process for therapists to ponder,the process is focused on facilitating treatment, not on absolute truths.

(lthough that art cannot replace therapy, the suggestion is that thisform of processing offers uni ue self+nowledge.

http://www.museumsnett.no/nasjonalgalleriet/munch/eng/innhold/ngm00939.html


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/elationship sculpting

(nother method of sculpting in supervision involves usingactual people in the process.

0n this method, individuals are arranged in )various physical positions that represent their relation to each otherat a particular moment in time* "Costa&3ewis used this type of sculpting as one of manytechni ues with supervisees to facilitate the development

of supervisees? imaginative brain functioning.Other techni ues included using metaphors and anecdotes Bnoticing language choiceB discussing issues symbolicallyBattending to affectB and learning from the way childrencommunicate "3ewis&.

contended sculpting relationships helps supervisees seedynamics of which they were previously unaware.


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music

(lso utili!ing an aspect of music in supervision, 3aughlin ":;;;&evaluated the method by which


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0ntelligence and Creativity

%uilford?s model measures many personological traits and attributesas elements of intelligence, one of which is creativity.Specifically, %uilford views creativity as a cognitive process ofhuman intellect. 0ndividuals? creativity is utili!ed through memoryretrieval processes.%uilford categori!ed the two elements of memory retrieval asdivergent production of semantic units "i.e. divergent thin+ing& andconvergent production of semantic units "i.e. convergent thin+ing&(ccording to %uilford ,)research showed thatEFspecificallyGdivergent productionEFisG often seen in the process of elaboratingupon ideas, such as conclusions or completed products of creativethin+ing*%uilford stated that memory retrieval operations are related to problemsolving, as well as decision ma+ing, and creative thin+ing


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0ntelligence and Creativity

0n an attempt to determine whether intelligenceand creativity are related, Torrance set about)tabulating 8 H correlation coefficients reported in

the literature* for intelligence and creativitymeasures. 5one of these correlations suggested astatistically significant relationship between thetwo constructs#ecause intelligence and creativity are seeminglyunrelated, it appears that creative e pression has

potential utility with people of varying levels ofintelligence.


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Can creativity be cultivatedI#ecause such positive attributes are associated with creative people, and

creative tas+s appear to be feasible with multiple populations, it then becomesof interest if and how creativity can be supported.( prominent name in the science of human behavior, #. J. S+inner , postulatedthat creative behavior, when it occurs, can be reinforced, but that creativitycannot be taught

owever, it has been suggested that even S+inner, with his deterministic viewof creativity, has produced e perimental results which suggest, at minimum,that creative behavior can be shaped by outside interventions "Throne&.0t appears that these outside interventions can not only support, but alsoinhibit, the development of creative behavior. 0nformation compiled fromstudies conducted by Torrance suggests that creative children were oftendescribed by friends as )having Ksilly ideas,? or Knaughty ideas,? or FwereGthought of as Kwild? by their teachers* 0t seems li+ely that students who are deemed )wild* would be perceived less

positively by their teachers than other students. Such negative perceptionsappear to not only affect students? grades , but future displays of creativity aswell. (s early as the third grade, students may learn to suppress their originality"#arron&.1oing so may actually enhance, not only their peers? perceptions of them, buttheir teachers? perceptions of them as well. 0f teachers? views are enhanced,students? grades may be positively affected as well.


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%iven the wide body of literature supporting the benefits of art in therapeuticrelationships, it is surprising that more attention is not directed towardscreative approaches in clinical supervision.Carson " 8999& pointed out that creativity is discussed within numerouscommonly used counseling theories.

Specifically, Jreud addressed creativity within the defense mechanism ofsublimation(dler discussed creativity as an indication of growth.

umanistic theories view creativity as inherent in ris+ and growth%estalt theorists advocate for the need to enact new behaviors so thatintegration may occur.Cognitive therapies see divergent thin+ing as an essential prere uisite tochangee istential theorists support ris+6ta+ing and,therefore, creative e periencing.'hen reflecting upon all of the ways in which therapists wor+ to facilitatecreative e pression in clients, it stands to reason that therapists themselveswould also find more creative e pression a helpful part of their supervisione perience.

Jurthermore, whether or not any perceived utility of creative supervisionvaries by pree isting levels of creativity would be helpful in understandingwith what type of student, if any, supervision involving art tas+s would bemost appropriate.Yet, it appears that a very limited amount of research e ists which providesinsight into this issue.Thus, it is suggested that research directly focused on e ploring creativity as itrelates to supervision involving art tas+s would be useful not only tosupervisors, but to supervisees as well.


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(s little information is available on certain aspects of thetopic being discussed, these searches were conducted withno limitation on the years to be reviewed.

( more focused survey was also done of the past ten yearsfor the 7 Journal of Counseling &Development , 7 The Arts in Psychotherapy , 7 Art Therapy: Journal of the American Art Therapy Association ,

7 Journal of Creative Behavior . 3iterature was searched utili!ing +ey words specific to theuse of art in supervision as well as peripheral topics relatedto supervision and creativity.


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/esearch 1esign

( posttest only non6e perimental design "Trochim, :;;8& was used toe amine whether art tas+s enhanced the clinical supervision . Thestudy e plored the effects of an art tas+ intervention on multiplegroups yet lac+ed random assignment and had no control group.Thus, the study is considered non6e perimental this research wasguided by the following uestionsD 7 "8& 1o participants en


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"8& 1o participants en


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":& 1o participants perceive supervisioninvolving art tas+s to be beneficialI

Participants either found the art tas+s to be very beneficial"@>LB n M 8>&, beneficial "=@LB n M 9&,or were neutral "88LB n M =& about the e perience.These results seem to support the hypothesis that

participants would deem supervision involving arttas+s beneficial


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"=& 1o participants use art tas+s with their clients more after participating in supervision involving art tas+sI 1uring both the semester prior to and of the study, of those who usedart with their clients, the number of times used ranged from one tofifteen. The mean number of times art was used with clients during thesessions prior to the study was si B after participating in the study artwas used with clients a mean of five times.These results do not statistically support the hypothesis that

participants use art tas+s more often with their clients after participating in supervision involving art tas+s.(ppro imately one6half "@>LB n M 8>& of participants reported thatthey used art tas+s when wor+ing with their clients prior to thestudy,and slightly less than half ">:LB n M 88& of participants did not.The remaining >L "n M 8& of participants was not engaged in aninternship placement during this time period. 1uring the period inwhich this study was conducted, appro imately two6thirds of

participants "A9LB n M 8H& used art tas+s when wor+ing with their

clientsB about one6third of participants "=8LB n M H& did not.


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">& 1o participants? creativity levels correlate with participants?en


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"A& 1o participants? creativity levels correlate with whether they useart tas+s with their clients more after participating in supervisioninvolving art tas+sI

This change in amount of use for each participant was correlated to creativityscores "both when combined and when e amined separately&, using the /an+Order Correlation Coefficient.

5o statistically significant relationship was found between combinedcreativity scores and change in amount of use of art tas+s "rs M 6.8 , p N .>8&,nor between scores on the /emote (ssociates Test "rs M 6.8H, p N .>;&, or#arron6'elsh (rt Scale "rs M 6.8:, p N .@ & and use of art tas+s.

%iven that there was no significant relationship between creativity and the useof art tas+s by participants before or after this study, these results support thenull hypothesis that no relationship e ists between creativity and amount ofuse of the intervention


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conclusion

4any participants lin+ed en


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Perceived Benefit of Art TasksPossibly of greater interest to supervisors is whether supervisees perceive art tas+s to be a

beneficial part of their supervision e perience. 3iterature reflects this emphasis on benefit tosupervisees. 3ett "899@& focused on using art to capture participants? )elusive e perience* "p.=::&. #ird et al. "8999& used music with participants and found it to be supportive of their development, both personally and professionally. 'il+ins "899@& reported that using art with

participants taught a new s+ill, enabling participants to wor+ more effectively with clients.3aughlin ":;;;& found that using a musical improvisational method helped participants developthemselves more creatively and develop a blend of technical and creative s+ills to be used withclients. /obbins and -rismann "899:& reported that participants found sculpting to betherapeutic.


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Participants in this study reported similar benefits. -ngaging in the art tas+s facilitatedgreater self6understanding, as art did with participants in 3ett?s "899@& study. Participants alsofound art to be useful as a chronicle of their development, paralleling #ird et al.?s "8999&assertion. Concurring with 'adeson?s "899@& proposition that art facilitates supervisees?e ploration of roles and professional identity, participants also reportedly found using the arttas+s to be a means of e ploring their current and future roles, and oft cited e ploring reactionsto their internship placements as a benefit of the art tas+ interventions. Participants also reporteda greater inclination to use art tas+s with clients and a greater understanding of the benefits of using art with clients as a result of participating in this study. These comments suggest

participants developed comfort with a creative intervention, supporting 'il+ins? "899@& and3aughlin?s ":;;;& assertions that using creative interventions in supervision teaches participantsa new s+ill. Paralleling the e perience with /obbins and -rismann?s "899:& sculptingintervention, art tas+s in this study were also described as therapeutic.


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conclusion

'hile participant enjoyment of the art tas+s isdesirable, participant enefit derived fromengaging in the art tas+s is li+ely more desirable to

supervisors.(s many participants found engaging in the studyto be beneficial "H9LB n M :=& as found it to been


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liana don - creative intervention in supervision.pdf

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