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Chapter Two: Hope, and Doing What is Possible

Wilson, Jim Karnac Books ePub

Hope, and doing what is possible

The inspirational quote by El Saadawi in the Introduction emphasised that it is possible for creativity to grow despite opposition and oppression. Becoming aware that something is not right can spur one to challenge, to resist, and to ask the question, “Why is this so?” She was more than intellectually curious; her question was a provocation to herself and others not to become organised by a fear of offending the status quo. Creativity for El Saadawi includes acts of dissidence. At the same time, her provocation poses a quandary because we encounter situations with which we disagree and must decide whether to introduce a challenge to practices and policies that we consider counterproductive or detrimental to our clients. We live with frustrations when we see that more is needed to maintain humanising practices, and to connect more effectively with the clients of our services. For example, I feel angry at the over prescription of drug treatments for young children when their social and relational circumstances are the main reason for their distress. Anger is legitimate and appropriate when expressed against injustice, exploitation, and violence, yet many practitioners are required to work within systems that constrain our expressions of dissidence in the face of the restrictions on service provision. How we position ourselves, as well as how we are positioned by others, influences what might be possible (see, for example, Campbell & Groenbaek, 2006). The question is deciding how, where, and when I can act effectively, speak up, not lose heart, yet avoid false hope. Such are the expressed concerns of many colleagues I meet in social care and mental health services. So, how might we consider creative possibilities in practice without capitulation to the processes that each of us wishes to dispute and change for the better?

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Chapter Six: Forces that Push us from Behind

Wilson, Jim Karnac Books ePub

The morning begins with coffee and a chat with some of my colleagues, who are already seated at their computers by 8.15 a.m. A new habit of entering the exact time of arrival and departure has emerged in recent weeks, and a new form of “presentism” has appeared. There is a joke about who gets the prize for being first at their desk each morning. Behind the humour is a feeling of being scrutinised. To “wake up and smell the coffee” has never had such relevance. The temptation is to go straight into the email correspondence, and attend to a never-ending stream of requirements in the “must dos” of administration.

This sets the scene for an increasing number of dedicated practitioners in social care and mental health. The forces that push us from behind is a metaphor for the pressures created by distal processes that have an influence on how we think and function in our jobs and, more generally, in our lives. Fromm sees our awareness of such forces as the first step in altering our circumstances. It is a belief

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Chapter Seven: How do we Keep on Keeping on?

Wilson, Jim Karnac Books ePub

In my career to date, I have worked in local authority social work, the voluntary sector, independent private service provision, and in the National Health Service. Therefore, I have had the opportunity to see from the inside of organisations and their functioning from the perspective of a practitioner as well as from the outside, as visiting consultant trainer, or supervisor. These various positions provide different possibilities to contribute, to challenge, and/or feel the power to comply with, the status quo. As a consultant or visiting lecturer, I can try to contribute from the sidelines, so to speak, as adviser, educator, facilitator, and so on, and to encourage exploratory conversations about matters of ethical importance and creativity. These special settings promote reflection and an opportunity to stand back from the daily pressures and demands of practice.

As a practitioner within an organisation, I am an employee and, therefore, bound by contractual agreement that includes paying me a salary. The organisation calls the tune. I am placed in a relationship to others in my immediate work context who influence, and are influenced by, me. These ongoing social relations in the immediate workplace inform how we conduct our affairs and are shaped by perceived power relations and hierarchical arrangements. I can speak up if I am a consultant more easily than as a practitioner on a short-term contract. If I disagree with an idea a colleague has, I cannot simply walk away as one might do as a visiting trainer. We are caught in the mix of ongoing social relations in a more professionally intimate way. As a visiting lecturer or consultant, I still walk away at the end of the day. So, when we discuss what keeps us going and striving to improve our creativity in practice, my views always need tempering with what is possible in any given context.

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Chapter Five: Co-Creative Supervision and Practice: Experiment, Improvise, and Perform

Wilson, Jim Karnac Books ePub

Co-creative supervision and practice: experiment, improvise, and perform

How might practice be enhanced by creating opportunities for greater experimentation? The examples set out here are drawn from my experience of working in the National Health Services in the UK, and had to be negotiated within the strictures of limited time availability and waiting list demands. However, creating space and time to experiment paid dividends in keeping up our morale, mutuality of respect between team colleagues, and energy in trying to “recognise ourselves in the jobs we do”. There is no short-cut to creativity in practice. I hope you find the examples useful in both supervision and in direct practice with your clients/patients. I also hope that you will see this chapter as a further expression of building practice upon the foundational ideas of systemic humanism and creativity discussed earlier. Here, we can explore together how our practice can push beyond the constraints we typically work under, while keeping an eye on doing what is possible.

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Chapter Three: Exploring Creativity in Context

Wilson, Jim Karnac Books ePub

Exploring creativity in context

There is a story told by the late John Weakland, from the Brief Therapy Centre (Fisch et al., 1982; Watzlawick et al., 1974), who was inspired by a client's distinction between a difficulty and a problem in life. According to Weakland, the client defined the distinction thus: “A difficulty is just one damn thing after another…A problem is the same damn thing time and time again!”

When we are caught up in repetitive and unproductive processes in our work, it is easy to see how we can become disillusioned and resigned to follow the increasing demands on our energy and willingness to continue to do a good job. This chapter invites your exploration of what can, and does, provide us with inspiration by looking at dimensions of practice that open possibilities for continued development and inspiration. This is a way of setting aside some time to reflect on what matters to us as practitioners. It is a breathing space. It is also a chance to consider your unique ways of developing your creativity, yet avoiding the illusion of thinking that one's creativity comes only from within, as if by magic. A systemic humanising perspective places creativity as a psychosocial process, aided or restricted by our living relations with others, and our historical precedents.

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