About the Book
Creative methods can bring depth and new perspectives to the supervision process. This book proposes that a firm understanding of supervision theory is the vital foundation to utilising the power of creativity in reflection and learning, and demonstrates that these creative approaches are applicable across disciplines, providing useful reflective tools across and beyond the arts therapies.
Part One of the book provides a theoretical approach to supervision, with a presentation and discussion of the philosophy, theory and place of creative technique. Part Two demonstrates the fluency of creative approaches to supervision with examples of application within different fields, including dramatherapy, psychodrama, family therapy, art therapy, psychoanalytic psychotherapy, dance and movement therapy and church ministry, provided by experienced practitioners from within those fields.
Based in the practice and philosophy of the Creative Approaches to Supervision Diploma course run by the editors and taught at the London Centre for Psychodrama Group and Individual Psychotherapy, this book is a comprehensive resource for anyone with an interest in supervision across the caring and educational disciplines.
Table of Contents:
1. Introduction to the Book. Anna Chesner, Psychotherapist, Trainer (BPA, UKCP), Supervisor (BADTh, HCPC), Co-Director, London Centre for Psychodrama. Lia Zografou, Dramatherapist, Supervisor, Trainer, Business Consultant, Coach (MA , HCPC, BADth). Part 1. An Introduction to Creative Supervision Across Modalities. 2. Philosophical and Theoretical Underpinnings. Anna Chesner and Lia Zografou. 3. Role as a Core Concept in Supervision. Anna Chesner. 4. Four Elements: Group Supervision and Playback Theatre. Lia Zografou. 5. The Six Shape Supervision Structure. Anna Chesner. Part 2. Applications of Creative Supervision Across Modalities. 6. Integrating Creative Approaches within Family Therapy Supervision. Hannah Sherbersky, Family and Systemic Psychotherapist (UKCP). 7. Building Imaginative Bridges: Creative Arts Supervision and Therapeutic Work with Children. Cath Wakeman, State Registered Art Therapist, Clinical Supervisor, Trainer, Trauma Specialist. 8. Embodiment and Movement in Supervision: An Integration of Theories and Techniques from Body Oriented, Movement Based Psychotherapy and Creative Supervision. Céline Butté, Recognised Private Practitioner, Supervisor with the Association for Dance Movement Psychotherapy. Fiona Hoo, Registered Dance Movement Psychotherapist with the Association for Dance Movement Psychotherapy. 9. Power and Vulnerability: Creative Supervision and Theological Education. Jane Leach, Principal, Wesley House, University of Cambridge. 10. Creative Supervision as “Potential Space” for Reflective Learning and Containment. Denise McHugh, Psychotherapist, Creative Supervisor (UKCP, BABCP, NMC, EMDR UK and Ireland). 11. The Psychodrama of Supervision. Eleni Ioannidou, Psychodrama Therapist, Supervisor. 12. The “Evil Castle”: Creative Supervision and Art Psychotherapy in an In-patient Setting. Amanda Strevett-Smith, Dramatherapist.
About the Author :
Anna Chesner, MA is a UKCP registered psychodrama and group analytic psychotherapist and has been qualified as a supervisor for over twenty years. She has trained dramatherapists, integrative counsellors and psychotherapists and is course director of the London Centre for Psychodrama Group and Individual Psychotherapy Training in Creative Supervision. She has presented her work in creative supervision in the UK and internationally at the Federation of European Psychodrama Training Organisation conference, Jerusalem 2011. She has written extensively on supervision and action methods.
Review :
This much-needed cross-disciplinary book adds to the current literature on supervision. It will be indispensable to practitioners and students from a range of modalities. Each chapter thoughtfully illustrates a suggested model, resulting in a tightly structured volume. Creative practice fits into a common theory whilst inviting key topics in supervision to be considered.
Good to see another helpful addition to the books on supervision, especially one which illustrates how “supervision should be a sand-pit in which we play, more than a law-court in which we judge”. The authors draw on their experience as psychodramatists and creative therapists to show how supervision can be a rich place of creativity, experimentation and learning through play in its deepest sense. The book includes many useful approaches for using art, enactment and embodied approaches in a variety of supervision settings. It will be particularly useful for those supervising the creative therapies.
The authors have done an excellent job in blending theory and creative methods in a very readable and accessible form, demonstrating their core belief that intentional focus on creativity enhances supervisor practice. They have included contributions from very different fields and combined them in a skilful way that gives the book a coherence within the diversity, and leaves the reader with the desire to experiment more within their own supervisory practice.
This book imaginatively combines theory and creative approaches to supervision, and is a must-read for both supervisor and supervisee. It is written in a manner that is both informative and practical, yet it also challenges the supervisor to move beyond the cultural conserve of supervision. It has a strong theoretical grounding that acknowledges the work and creativity of others and introduces innovative ideas from dramatherapy, psychodrama and playback theatre to enrich the supervisory experience.
