Creativity in a private Occupational Therapy practice: a position
Post on 16-May-2023
0 Views
Preview:
Transcript
Introduction
Creativity has been described in many ways by people who study it regarding
how and when they are studying or just manifesting it. Although many synonyms can
be found about creativity no antonym exists for that word but just for its synonyms,
i.e. imaginative ≠ unimaginative. “True” creativity is the “drawing” of the originality
of one person’s thinking as transmitted in a culture through his actions. Its meaning is
embedded to the depths of every human intention towards evolution. Any attempt of
generalisation of creativity fails because it is not a unified concept but rather
individual and culturally defined possession; western cultures in contrast with the
eastern would not view a copy of a genuine craft as creative rather than skilful even
though the outcome is one of a creative process (Lubart, 1990, 1999; Lumsden, 1999).
The main arguments of this document is that although there are guidelines for
effective practice, treatments in occupational therapy do not emerge from an
instruction book but from the unparalleled uniqueness of every situation and
interaction of the therapist with the clients. Innovation in therapy lies on the ability of
the therapist to use knowledge and personal experience in order to get adapted to the
demands of every situation. Creative skills are required in everyday endeavours to
change concepts and perceptions (De Bono, 1993).
In a private OT paediatric practice there is a need for the occupational
therapist to employ a great amount of creativity in order to use the existing resources
to create interventions that are appropriate and effective for therapeutic change. This
is highly significant for the practice as long as clients’ health and satisfaction is
closely attached with its economic viability.
1
This document wishes to elucidate the contributions of creativity in this
practice, where the self employed occupational therapist strives to solve the problems
emerging from the overlapping roles of manager and therapist. Hence, the way in
which the roles converge will be addressed. Moreover, the qualities and knowledge
that shape the occupational therapist’s artistry towards creative interventions through
the use of play as a creative medium will also be discussed.
Creativity within dichotomy
It is held that a creative product results from the full use of human potential
towards development of any kind. Everyday life endeavours “carry” creativity more
or less. Creativity is an integral part of the human contest with nature depending on
individual capacities, and unique cultures that each of us carries throughout life
evolution (Wilcock, 1998; 2006).
Sternberg and Lubart (1999), argue that individuals, organisations and
societies must adapt existing resources to changing task demands in order to remain
competitive. The fact that a private OT paediatric practice should be adapted to the
needs of the different service users, as well as follow procedures that are vital for its
function and sustainability points at the efforts that a self employed occupational
therapist should put in order to create solutions for individual c, i.e. creativity is novel
and adaptive solutions to problems (Amabile, 1996).
Creativity seems to be internal in problem solving, i.e. create a solution. The
creative process initiates by the identification of the problem and involves gathering
of experience, material, and information that is related with it; generation of ideas
2
about the possible approaches that can be used for a solution to be reached; validation
of the actions taken; and evaluation of the outcome (Amabile, 1989; Lubart, 1990;
Pierce, 2003). In the creative process of intervention doing is essential for its
integration, in terms of being its epitome; it provides the outcome for evaluation. In
contrast with the fermentations within a creative mind, doing is undoubtedly
observable (Feist, 1999). Reilly (1962) hypothesised that occupation represents the
wholeness of human. OT traditionally adopts a holistic approach in rehabilitation that
confluences all the theories in the occupational perspective of human. Creativity
involves all the capacities needed for engagement in occupations but also is a capacity
in its own right emerging from all types of activities, products and ideas (Wilcock,
1998; Atkinson & Wells, 2003). In an occupational sense, creativity has a curative
quality in terms of contributing in engagement in occupations towards well being.
The following patterns address the conditions under which the self employed
therapist creates his interventions and wishes to provide an insight to the mechanisms
that are related to the creative process regarding the individual occupational therapist
in the particular setting. This has been conceived as one of the seven dimensions, i.e.
the environmental dimension, of creative working, described by Atkinson and Wells
(2003). Although the self employed OT has great degree of autonomy, he needs to
prove that he is “good” professional, and create a safe and accessible environment
with plenty opportunities for his clients to engage in occupations.
By reviewing a self employed occupational therapist’s ordinary day can be
elicited that OT intervention is a continuous problem-solving process due to the group
of activities or tasks that are essential both for survival or self-growth (intrinsic
3
drivers), and professional identity reasons (socio-cultural reasons). Efforts towards
this direction have been described as a highly creative process (Pierce, 2003).
Creativity for an individual is relevant when solving problems in the job and daily life
(Sternberg & Lubart, 1999). For instance, the OT needs to organise and evaluate time,
space, and materials of the private practice in order to provide a comfortable
therapeutic environment which will increase satisfaction of service users. Apart from
the individual beliefs of how OT services should be provided, this is also linked with
the need to gather income to preserve both the functions of the practice and self.
Empirically speaking, this is experienced as a continuous “battle” for balancing the
intrinsic motivations and social considerations for conformity. Lubart (1990) refers
that in western societies there is a strong opposition between individualism and
pressures of conformity to community norms, which is likely to hinder creativity.
Amabile (1989; 1996) implies that motivation towards tasks depends on the
level of intrinsic will of a person, the presence or absence of external limitations, and
the individual ability to rationalise constraints of the environment. However, enabling
extrinsic motivation can also increase creativity (Amabile, 1996). In the private
practice peripheral constraints frequently depress the intrinsic values of the therapist
due to the fact that outcomes concerning the economic sustainability of the practice
overlapping with the process of the intervention. The therapist has to deal with
individual multiple goals that are related both to client issues and individual
conformity at the same time. That is, to provide successful treatments in order to be
rewarded both spiritually (i.e. enjoy participation in the process of therapeutic
change), and economically in order to live as part of the society and its expectations.
4
In response to the latter example, it has been interpreted that Sternberg and
Lubart (1999) offer a short of enabling extrinsic motivation by highlighting the
relation of creativity with economic aspects, i.e. innovative and effective services will
increase the popularity of the private practice raising the possibilities for economic
sustainability. That provides a bridge in the dichotomy of roles and goals that emerge
in this private practice, in terms of placing the central aim of OT’s intervention, i.e.
enabling occupation, as the driving force for all the developments. Personally
speaking the passionate interest in OT’s view of health, as well as children’s primary
occupation-play and its use in the therapeutic process is the inner spark that gives
birth to creativity in this particular practice and guaranties its financial viability.
Pierce (2001; 2003) demonstrates how powerful occupation-based practice can
be established on the knowledge of occupation through creative procedures. She
proposes that knowledge of occupation is OT’s benchmark for development and
effectiveness in interventions. That is, the creative use of occupational language, as
well as the creative and precise use of occupation in practice. Knowledge of
occupation for the self employed OT, considering the above dichotomy, is both the
“product” that a private OT practice “sells” to service consumers for its survival, and
the therapist’s node for creative thinking; it is the origin of self satisfaction and
motivation.
Csikszentmihalyi (1997) suggests that we are surrounded by infinite domains;
systems that have particular rules and procedures, of which we need to be aware in
order to be creative. In his “systems approach” to creativity he suggests that a creative
system depends on people (gatekeepers – clients, health professionals) who assess if
5
the individual uses the domain in an acceptable way, i.e. field. It has been interpreted
that internalising the knowledge of the domain and the concerns of the field, i.e.
professional standards and cultural consideration of health, is vital for the creative
problem solving in intervention, in terms of creating appropriate, but also
individualised therapeutic conditions. It can be concluded that the knowledgeable
occupational therapist increases clients’ understanding of the domains that are related
to their condition, enabling them to meet the occupational goals of their choice.
Likewise, he must have the skills in order to manipulate
equipment/material/situations, and be endued with aptitude to foresee possible
outcomes or potential ways to work for therapeutic interventions which will also
guaranty his income.
Amabile (1996) implies that the overall creative performance of a person, i.e.
production of actions, as assessed by appropriate judges (professional bodies, clients,
colleagues, self) relies on three components. These are, the domain relevant skills
including the knowledge, the technical skills and special talent about the domain; the
creativity relevant skills including all the cognitive fermentations and working style
towards generating solutions for a problem; and task motivation which determines
the individual approach to a given situation. Presuming that occupational therapists
participate in the wider domain of OT; values, beliefs, theoretical base, competency
standards of the discipline, scientific or non-scientific knowledge about occupations
and health as learned from formal or informal educational procedures constitute the
range of information and experience that an occupational therapist needs for
enhancing his creativity as well as to apply creative interventions with therapeutic
quality, i.e. accepted by the gatekeepers, (Atkinson and Wells, 2003).
6
The art of playing with children and their families
Considering the problem solving quality of creativity, the role of the therapist
is attached with the responsibility to manage a disabling [problematic] situation in
order to make it functional. Atkinson and Wells (2003), suggest that creativity is the
tool of making an intervention to work. That is, to explore, present, and use an
approach in a creative way. In everyday practice the therapist involves in
collaborative processes such as facilitating, guiding, educating, training, challenging,
listening, supporting, reflecting etc, in order to enable people to develop occupational
skills that will shape their lives (CAOT, 2002 p.180). Royeen (2003) highlights that
the art of our practice refers to the occupational situations we create in order to make
things doable and meaningful. During sessions [almost instinctively] we create
therapeutic conditions by fluctuating between roles in accordance to the needs of the
moment. Atkinson and Wells (2003) cite that we create our product from the
therapeutic process through using ourselves and the resources (i.e. our creativity); this
creates a motif that transforms on every different occasion. The fact that we hardly
follow therapeutic “recipes” mandates a commitment to self values and beliefs, as our
“protocols” of practice. Knowing ourselves and accepting this knowledge (i.e.
recognise our values, strengths and weaknesses), is a basic prerequisite for developing
therapeutic artistry in order use our selves creatively as tools in therapy (Atkinson &
Wells, 2003).
It is believed that client centred approach in occupational therapy is essential
for orientate our role in intervention and for conditioning our relationship with the
clients. It is a system that establishes clients together with therapists as the field of the
particular health domain. Client centred practice manifests the values and beliefs of
7
OT; it provides the ground for clients’ active participation in all parts of problem
solving, i.e. doing is being creative (Dickie, 2004). It provides the guidance for
appropriate cognitive fermentation and conductive work style towards achieving
therapeutic change with our clients. Sumsion (2006) stresses client-centred practice as
an alternative way of thinking or attitude. Concepts like partnership, communication,
choice and power are central to OT, all aiming to empower people to utilise their full
potential towards health (Sumsion, 2005). Rights, values, meaning and choices of the
client is central to the client-centred intervention in non-judgemental manner (Law et
al., 2002). In practice that means that the OT listens to clients’ aspirations and
observes their abilities, facilitates them to envision their potential and identify their
needs, supports them to their decisions either orthodox or paradox, provide them with
information and open communication (CAOT, 2002 p.51). Atkinson and Wells (2003)
describe all the above qualities as the art of using self in the intervention to enhance
people’s creativity, i.e. ability in problem solving.
In the paediatric practice child is the primary client. Children are naturally
creative in evolutionary terms. They “flirt” with life at every moment by disposing
themselves to play as part of their personality (O’Brein, 2000). Play is a continuous
[interactive] exploration of the environment; it serves as a vehicle for creative
problem solving; it is a source of innovation in culture because of its creative potential
(Parham & Premeau, 1997). Characteristics of play make it a powerful, naturally
creative medium in intervention.
However, children that are being referred to occupational therapy, usually
experience difficulties of performing occupations of which play is one of the most
8
important (Bryze, 1997; O’Brien, 2000; Morrison & Metzger, 2001; Knox, 2005).
Regarding creativity, facilitating children to engage in playful activities is equal to
building skills for creative function. Towards this direction as part of his artistry, the
occupational therapist “manipulates” child’s play in order to maintain the creative
procedure evolving. As long as play is naturally creative (Parham & Primeau, 1997),
it has been interpreted that the occupational therapist’s efforts articulate around
keeping the components of the creative performance (i.e. domain and creativity
relevant skills and motivation) at an optimal level to facilitate child’s engagement in
play. For instance, a child that wants to climb on steps of the slider and slide in the
ball-stank, needs the physical knowledge that this task demands (i.e. domain skills),
and also needs to position body appropriately to perform (i.e. creativity skills). If task
is hampered by disability, motivation is likely to be increased if the child will be
wrapped with a cloth which then can be used as an elevator.
Play differs from all other occupations by the source of motivation and degree
of freedom that is associated with (Bundy, 1997). In order to use it effectively as an
intervention technique as well as to identify how the creativity relates with play,
occupational therapists must be aware of the nature of play and playfulness (O’Brein,
2000). Observable playful behaviours (i.e. playfulness) during child’s play constitute
its three characteristics: children are enthusiastically engaged in play process and
having fun i.e. intrinsic motivation; they make the decisions about when and how
they will share with others, initiate or modify play, challenge themselves, and shape
the outcomes, i.e. internal control; they use objects in unconventional ways or bend
social rules, i.e. suspension of reality (Bundy, 1997; O’Brein, 2000). It can be
supported that children’s playful attitude pictures Dooling’s (1979) description of the
9
artisan “…he himself is there with what he uniquely is…he is the owner and not the
servant of his concept… concept depends on him for a new form through which it can
be transmitted”. Play is children’s way of life through which they create their crafts,
i.e. games, and in a sense their development.
When children play with all the above characteristics converging towards the
internal rather than the external extreme of motivation and control continuums, in
environments that allow the reality to be suspended they are involved in a pure
creative process (Bundy, 1997). For example, a child wants to create a game with the
ball-stank because they are intrinsically motivated by the sensation of the movement
that this activity offers. What this object (ball-stank) represents for that child is also
their own choice; may be the water of the sea that enables them to swim like a fishes
or just a “fresh” tactile stimulation. An external destruction from child’s focus on their
engagement in this vigorous imaginative problem solving situation may interrupt the
balance needed for playfulness to occur. Therefore, the therapist plays in parallel at
the same “world” with the child facilitating their intentions to be applied.
Amabile (1989, 1996) supports that people are most creative when they feel
motivated by the joy and challenge of the occupation itself and not by external
pressures. Children play for the sake of playing (O’Brien, 2000; Morrison & Metzger,
2001; Knox, 2005); they often forego sleep or food in order to play more. Intrinsic
motivation is essential to creativity (Amabile, 1996; Sternberg & Lubart, 1999;
Collins & Amabile, 1999); it is strongly linked with the reward that someone expects
from the participation in the process of an occupation rather than by any conventional
material (Chikszentmihalyi, 2000). For the occupational therapist it is highly
10
significant to accept that children are naturally motivated intrinsically in order to
adapt himself to children’s creative life style, as well as to educate parents how to
extract their child’s creativity from the disabled situation. For that reason the therapist
of such practice becomes a child himself participating in play. Atkinson and Wells
(2003), suggest that the way the occupational therapist uses self to communicate (e.g.
verbal and non verbal language) is important to the creative process.
In a therapeutic session the group of activities that take place may have non-
specific aims (i.e. develop friendship) with participation in general activities
introduced by the therapist, e.g. story telling, or specific aims (i.e. create a game) with
engagement in activities chosen from the child, e.g. role playing the astronauts using
hopping balls. Atkinson and Wells (2003) describe those activities as the extremes of
the continuum of creative therapies. They argue that the degree of flexibility of the
therapist to move on this continuum justifies his therapeutic artistry. A playful
therapeutic session is usually driven by the interest of a child, but also from extrinsic
motivations provided by the therapist; therefore, it fluctuates between the two ends of
this continuum in relation to the amount of direction that the therapist is allowed to
address [by the child], the type of play, and the use of material. Empirically speaking
the nature of play does not allow the therapist to hold a robust position during the
session. Engagement in play usually weaves general and certain activities, e.g. story
telling may lead to astronaut role playing and spaceship building with cushions.
As mentioned, over times in a therapeutic session the therapist provides the
motivation for the child in order to engage in play. Amabile (1996) suggests that
although extrinsic motivation may decrease the possibility for exploration, set-
11
breaking and risk-taking (i.e. creativity), if used in an enabling way (i.e. trigger
intrinsic motivation) can facilitate the creative process, especially when the intrinsic
motivation is in high levels, as with playful children. For example, the therapist may
motivate the child to use the ball-stank by “bribing” them with a material reward, i.e.
a candy, or get in the pool and create a “funny story” about sea life that will attract the
child to follow. Although the former destructs child from focusing on the procedure
and the internal reward, the latter enables child to become familiar with the activity
and develop an individual way to engage.
Amabile (1989) also hypothesise that intrinsic motivation is the intersection of
creativity, i.e. the area where children’s talents, skills and interests overlap. In that
sense, observing and following child’s play provides with great amount of
information about their preferences for integrating the atmosphere of a therapeutic
session or the home environment around child’s interest, i.e. make the information
accessible or attractive. For instance, a setting which is inappropriate for a child with
a sensory integration dysfunction (e.g. over or under challenging) may inhibit their
motivation for using the environment to play, therefore, block the creative process
from evolving.
Usually the environment of play, in the private setting, is loose and gives the
opportunity to the child to use objects or self, creatively. Atkinson and Wells (2003)
imply that the resources (i.e. space and material), the qualities (i.e. texture, flexibility
and manageability), and the process involved in play (i.e. how the session develops)
determine the responsiveness of the therapist and the effectiveness of a session as
well. In other words, environment regulates both child’s and therapist’s creativity. For
12
example, a physical activity with kicking would not be performed comfortably in an
office; without a ball or a substitute of a ball the environment would not be able to
satisfy the child’s need to kick in order to score a goal; a watercolour painting could
be accomplished without brushes, but not without colours. Empirically speaking, an
environment plentiful of resources, in terms of quantity, is not a prerequisite for
effective play. Material that can be used in multiple ways can be more creativity
enhancing. For example, play-doh offers the opportunity to the child to play without a
concrete goal; its development is not certain in terms of the shapes that the end
product can take, which also allows reuse. In contrast with an inflexible material, i.e.
puzzle, play-doh permits the child to develop internal control, hence increase their
playfulness to enhance creativity.
Materials of play can be seen as the tools that make play and playfulness occur
and creativity to develop. Dooling (1979) describes tools as the extension of mind;
they help the thoughts to be applied by bringing about finer control over one’s hand
activity towards shaping something. Tools in play are in suspense (O Brien, 2000);
children can use a modelling balloon as a sword to become knights, or their finger to
pretend the screwdriver during Lego construction. Therefore, it can be said that use of
play material enhances creativity; with the use of objects children create something
that it was not there before, i.e. novel. Play material is used by children systematically
and facilitates the generation of new ideas. De Bono (1993), implies that the use of
tools facilitate the development of creative thinking. Facilitating children to use play
materials is important in sessions in order to sustain the creative process
uninterrupted. For example, facilitating a child to use a skateboard as a tool for sliding
(i.e. engage in the activity in a carpeted room), challenges their sensory-motor
13
systems. The child is likely to generate ideas of how to adjust the body posture in
order to control their balance, and in the future to use body appropriately to try
skateboard tricks in their own style on more slippery grounds.
By the discussion that far, emerges that there is a relationship of the maker
(i.e. child), the outcome (i.e. play and playfulness), and the tool (i.e. play material)
that keeps the creative process flowing. In this process the occupational therapist is
the observer; he has a “duty” to preserve the process by trying to make this three-way
relationship to develop “fluently”. Atkinson and Wells (2003) point out that the use of
self as an observing tool provides evidence of how children interact in therapy and
how they engage in play. Observation provides real time qualitative evidences which
help therapist to muster his therapeutic skills in order to use his self creatively during
a session. Additionally, observing his own self the therapist can realise how his
approach impacts on play (Atkinson & Wells, 2003); at a time he might need to be
supportive and then challenging depending on the responses and behaviours of the
child.
Although the private practice is a setting that is related to children’s creativity,
it is just a small part of child’s life. The natural environment of children’s creativity is
home, i.e. its original context. As addressed earlier creativity occurs in a broader
system of interaction of human with the environment (Csikszentmihalyi, 1997; 1999).
The people with which children interact (parents, carers); the freedom of choice to
play; the cultural approval of play via indications from an adult and arrangements of
the physical environment, i.e. what play is?; a safe, comfortable, and friendly
environment determine the conditions, i.e. system, under which play occurs (Parham
14
& Primeau, 1997), and in extend where creativity evolves. For instance, Dickie (2004)
noticed that her socio-cultural background blinded her from recognising other
peoples’ creativity; a roadblock that occupational therapists need to avoid in practice,
and educate family to follow.
Amabile (1989) suggests that family is the environment that nurtures the
creativity of a child; parents visualise their child in adulthood, creating scenarios
about their child’s growth. Power and Dell Orto (2003) refer to disability as a new
condition that challenges family’s values, dreams, and everyday expectations. It can
be parallelised with a severe, unexpected, extrinsic factor that influences family’s
creativity.
Many therapeutic sessions are taking place in the house of the family. It has
been interpreted that using self as a tool to facilitate families embody play in a variety
of activities at a daily basis is important. Engaging in playful activities or fantasy can
have a positive effect in creativity (Amabile, 1996). For example, a child with
difficulties in eating might get motivated by using the fork as an aeroplane to transfer
the food from the plate into mouth during lunch time, or can help mother to do the
gross cleaning with playful attitude. Parham and Primeau (1997) describe this process
as occupational scaffolding, where the parents built their children’s play. During this
process children are very concentrated because they are doing something unfamiliar;
they collect information for the new domain. In respect of the development of
therapeutic artistry, observing family’s play during everyday routines can increase
awareness about child’s abilities and provide with “fresh” ideas of how play can be
used in other settings (Parham & Primeau, 1997). In the therapeutic relationship
15
parents are seen as co-therapists, they are in charge of the children and their
development. This relationship with parents increases the validity of the therapeutic
reasoning and facilitates the communication of knowledge (Atkinson & Wells, 2003).
Parents are at the infancy of a disabling situation. Although they are unlikely to
provide a solution they usually provide the principles for the appropriate approach to
emerge, for those who know how to listen and watch (De Bono, 1993).
Pierce (2003) cites that each time we came across a situation that is new and
challenging we use creativity and design process in order to find a solution; creativity
is required for relatively unfamiliar tasks. As long as the disabling situation is a
domain that is new to the family, it can be inferred that it provides a fertile ground for
problem solving. By offering access to knowledge that is related to their experience,
the occupational therapist provides the opportunity to the family to increase their
creative capacity. Similarly, as long as every case is unique, the therapist needs to
increase his knowledge for the particular situation-domain. From a humanistic
perspective, this attitude towards education, i.e. exchange of knowledge, can be seen
as the role of the therapist as a facilitator of knowledge (Knowles et al., 1998).
Regarding that role as part of the therapeutic artistry, the occupational
therapist must be aware of situations that influence peoples’ creativity in order to
perform the role creatively. Lubart (1990) stresses that pressure on somebody’s
creativity can be exercised by a person or a situation (i.e. self, parent, professional,
society etc) in many forms (i.e. advice, laughter, isolation, dogmatism etc). It can be
inferred that the interest of an intervention on outcomes via linear use of certain
techniques-recipes, i.e. NDT and SI, rather than open exchange of integrated
16
knowledge, addresses a form of pressure that discourages, people to engage in playful
activities and disorients therapist’s judgement. A degree of control on outcome by
imposed methodologies (i.e. controlled external motivation) hampers both clients’ and
therapist’s creativity (Amabile, 1996, Collins & Amabile, 1999). Atkinson and Wells
(2003) suggest that the ability of being open minded about the outcomes of a session,
i.e. being flexible and reflexive, enhances mastery in therapy. Being flexible and
reflexive about the outcomes mandates a similar attitude in judgement.
Csikszentmihalyi (1999) stresses the importance of judgement in the
manifestation of creativity. Supporting rather than judging our clients’ engagement in
everyday occupations of their choice, as well as facilitating access to all relevant
knowledge is essential for enhancing family’s creativity. Atkinson and Wells (2003)
suggest that the therapist’s intrapersonal traits (i.e. physical, social and cultural
background), affect the relationships with clients and vice versa. In order this to be
developed as an enabling situation, judgement must not be linear, but rather emerge
from an integrated reflective procedure with our clients (Atkinson and Wells, 2003).
Reflection facilitates the generation of situation-focused theory, supports the
maintenance of the learning potential, and results to practical wisdom (Gibbs, 1988;
Fish and Coles, 2002; Johns, 2005). Atkinson and Wells (2003) tackle the importance
of reflection both for reasoning and the quality of the intervention as a whole.
Reflection can take place during or/and after the session; it questions every action
taken in relation to the outcome, which is rather negotiated than judged. Every
therapeutic session in any setting can be seen as a creative process which contains
many sub-processes. It can be said that the therapist must be alerted at all times in
17
order to be able to react properly. This may be instinctive, but reflection transforms
instinct into artistry.
Conclusion
Knowing about creativity is not relevant to being more creative. It is rather the
knowledge of creativity that makes someone aware for its necessity. It can be
concluded that embedded in practice such knowledge can redefine the role of the
therapist in the intervention or even reconstruct a whole OT practice, in terms of
attitude; it manifests a significant centre of attention that has extensively been
ignored. The concept of creativity adds strength to the central values and beliefs of
occupational therapy about human. That is, every person has a personal style and
ideas that are being applied with a particular way.
This paper is the embodiment of a creative process; the concept of creativity
transformed from a blurred image of thoughts to a more concrete value. There was an
instinctive belief that creativity is present to a private paediatric practice due to its
“playful” nature. This has not just consolidated but also got expanded. Creativity has
been attached with different individual meanings, and provided insights of how that
knowledge can influence practice. The view of the therapist as a tool in the dispose of
children and their families can be the cornerstone of intrinsic motivation, i.e. being a
live object that transforms occasionally. This view crystallises the role of occupational
therapist in the therapeutic process and guaranties the accurate application of client
centred interventions.
[5,134]
18
References
Amabile, T. M. (1989). Growing Up Creative: Nurturing a Lifetime of Creativity. NY. USA. CEF Press.
Amabile, T. M. (1996). Creativity in Context. UK. Westview Press.
Atkinson, K. and Wells, C. (2003). Creative Therapies: A Psychodynamic Approach within Occupational Therapy. Reprinted. Cheltenham. UK. Nelson Thornes Ltd.
Bryze, K. (1997). Narrative contributions to the play history. In: Parham, L. D. and Fazio, L. S. (Eds). Play in Occupational Therapy for Children. USA. Mosby-Year Book, Inc. pp 23 – 34.
Bundy, A. C. (1997) Play and playfulness: What to look for. In: Parham, L. D. and Fazio, L. S. (Eds). Play in Occupational Therapy for Children. USA. Mosby-Year Book, Inc. pp 52 – 66.
Canadian Association of Occupational Therapists (2002) Enabling Occupation: An Occupational Therapy Perspective. Revised edition, Ottawa, Ontario, CAOT Publications ACE, p.51,180.
Collins, M. A. and Amabile, T. M. (1999). Motivation and creativity. In: Sternberg, R. J. (Ed) Handbook of Creativity. UK. Cambridge University Press. pp 297 – 312.
Csikszentmihalyi, M. (1997). Creativity: Flow and the Psychology of Discovery and Invention. NY. USA. HarperPerennial.
Csikszentmihalyi, M. (1999). Implications of a system perspective for the study of creativity. In: Sternberg, R. J. (Ed) Handbook of Creativity. UK. Cambridge University Press. pp 313 – 335.
Csikszentmihalyi, M. (2000). Beyond Boredom and Anxiety: Experiencing Flow in Work and Play. 25th anniversary ed, USA: Jossey-Bass ING.
De Bono, E. (1993). Serious Creativity. London. Harper Collins.
Dickie, V. A. (2004). From drunkard’s path to Kansas cyclones: Discovering creativity inside blocks. Journal of Occupational Science. Australia. 11(2): pp 51 – 57.
Dooling, D. M. (1979). A Way of Working: The Spiritual Dimension of Craft. NY. USA. Parabola Books.
Feist, G. J. (1999). The influence of personality on artistic and scientific creativity. In: Sternberg, R. J. (Ed) Handbook of Creativity. UK. Cambridge University Press. pp 273 – 296.
19
Fish, D. and Coles, C. (2002) Developing Professional Judgement in Healthcare: Learning Through the Critical Appreciation of Practice, Edinburgh, Butterworth – Heinemann.
Gibbs, G. (1988) Learning by Doing: A Guide to Teaching and Learning Methods, Further Education Unit, Oxford Polytechnic, now Oxford Brookes University.
Johns, C. (2005) Becoming a Reflective Practitioner, 2nd Ed reprinted, UK, Blackwell Publishing Ltd.
Knox, S. H. (2005). Play. In: Case – Smith, J. (Ed). Occupational Therapy for Children. 5th Ed. Missouri. USA. Mosby Inc. pp 571 – 586.
Knowles, M.S., Holton, E.F. III, and Swanson, R.A. (1998) The Adult Learner: The Definitive Classic in Adult Education and Human Resource Development, 5th ed, USA, Butterworth – Heinemann.
Law, M., Polatajko, H., Baptiste, J. and Townsend, E. (2002) Core concepts of occupational therapy. In: Canadian Association of Occupational Therapists – Townsend, E. (Ed). Enabling Occupation: An Occupational Therapy Perspective. Ottawa; Ontario: CAOT Publications ACE. pp 29 – 56.
Lubart, T. I. (1990). Creativity and cross-cultural variation. International Journal of Psychology, North-Holland, 25: 39 – 59.
Lubart, T. I. (1999). Creativity across cultures. In: Sternberg, R. J. (Ed) Handbook of Creativity. UK. Cambridge University Press. pp 339 – 350.
Lumsden, C. J. (1999). Evolving creative minds: Stories and mechanisms. In: Sternberg, R. J. (Ed) Handbook of Creativity. UK. Cambridge University Press. pp. 153 – 168.
Morrison, C. D. and Metzger, P. (2001). Play. In: Case – Smith, J. (Ed). Occupational Therapy for Children. 4th Ed. Missouri. USA. Mosby Inc. pp 528 – 544.
O’Brien, J. C. (2000). Play. In: Solomon, J. W. (Ed). Paediatric Skills for Occupational Therapy Assistants. Missouri. USA. Mosby Inc. pp 293 – 309.
Parham, L. D. and Prineau, L. (1997). Introduction to play and occupational therapy. In: Parham, L. D. and Fazio, L. S. (Eds). Play in Occupational Therapy for Children. USA. Mosby-Year Book, Inc. pp 2 – 21.
Pierce, D. (2001). Occupation by design: Dimensions, therapeutic power, and creative process. AJOT. 55: 249 – 259.
Pierce, D. (2003). Occupation by Design: Building Therapeutic Power. Philadelphia. F.A. Davies Company.
Power, P. W. and Dell Orto, A. (2003). The Resilient Family: Living with Your Child’s Illness or Disability. Notre Dame. India. Sorin Books.
20
Reilly, M. (1962). Occupational therapy can be one of the great ideas of 20th Century Medicine, AJOT, 16, 2-9. In: Cottrell Fleming, R. P. (Ed). (1996). Perspectives on Purposeful Activity: Foundations & Future of Occupational Therapy. AOTA, Inc pp 65 – 73.
Royeen, C. B. (2003). Chaotic occupational therapy: Collective wisdom for a complex profession. The 2003 Eleanor Clarke Slagle lecture. AJOT. 57(2): 609 – 623.
Sternberg, R. J. and Lubart, T. I. (1999). The concept of creativity: Prospects and paradigms. In: Sternberg, R. J. (Ed) Handbook of Creativity. UK. Cambridge University Press. pp 3 – 15.
Sumsion, T (2005) Promoting health through client centred occupational therapy practice. In Scriven, A. (Ed) Health Promoting Practice: The Contribution of Nurses and Allied Health Professionals. NY, USA, Palgrave MacMillan, pp 99 – 112.
Sumsion, T. (2006) Implementation issues. In: Sumsion, T. (Ed) Client-Centred Practice in Occupational Therapy: A Guide to Implementation. 2nd Ed, Philadelphia, USA, Churchill Livingston Elsevier, pp 39 – 53.
Wilcock, A. A. (1998). An Occupational Perspective of Health. NJ, USA, SLACK Incorporated.
Wilcock, A. A. (2006). An Occupational Perspective of Health. 2nd Ed. NJ, USA, SLACK Incorporated.
21
top related