Students’ artistic experience before and during graduate training

Orkibi, Hod

doi:10.1016/j.aip.2012.06.007

Cited by 19 publications

(10 citation statements)

References 34 publications

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“…This was consistent with the prediction that in-training fieldwork experiences would be balkanized from students' personal SWB in terms of not spilling over into their nontraining personal domain, most likely because it was limited in scope compared to other non-training personal obligations and responsibilities students often have during graduate training (Newman, 2010;Orkibi, 2012d;Pelech, Barlow, Badry, & Elliot, 2009). …”

Section: Mediationsupporting

confidence: 86%

“…Based on self-enhancement theory (Jones, 1973) and conservation of resources theory (Hobfoll, 2011), it could be argued that student CSE generates the self-enhancing resource of work engagement, but not meaningful work. This is possibly because the evolving professional identity of students (Orkibi, 2012b(Orkibi, , 2012c(Orkibi, , 2012d is closely connected to their still evolving ability to make sense of their training process (Ignelzi, 2000;Kegan, 1982, p. 11).…”

Section: Mediationmentioning

confidence: 95%

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Linking collective self-esteem to well-being indicators of arts therapies students and practitioners: Meaning and engagement as mediators

Orkibi

Bar-nir

2015

The Arts in Psychotherapy

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Section: Mediationsupporting

confidence: 86%

Section: Mediationmentioning

confidence: 95%

Linking collective self-esteem to well-being indicators of arts therapies students and practitioners: Meaning and engagement as mediators

Orkibi

Bar-nir

2015

The Arts in Psychotherapy

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“…Please specify in relation to your own experience and provide examples’. The second part of each phase questionnaire aimed at generating themes from student narrative responses to two arts‐related questions reported elsewhere (Orkibi, ).…”

Section: Methods and Proceduresmentioning

confidence: 99%

“…Despite this growing interest, the PD of creative arts therapies (CAT) students—who learn how to use the arts in counselling and psychotherapy—has scarcely been addressed. There have been a handful of empirical attempts to understand the PD of students trained in the different specializations, including art therapy (Feen‐Calligan, ), music therapy (Luce, ), dance movement therapy (Federman, ) and drama therapy (Orkibi, , , ). In light of this gap in the literature, the present study tested the extent to which CAT students confirm Rønnestad and Skovholt's () seminal theory of counsellors and therapists' PD as applicable to and representative of their own experience.…”

mentioning

confidence: 99%

The Applicability of a Seminal Professional Development Theory to Creative Arts Therapies Students

Orkibi

2013

Clin Psychology and Psychoth

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The purpose of this mixed-methods study was to test the extent to which a seminal theory of the professional development of counsellors and therapists is applicable to the particular experiences of creative arts therapies graduate students who learn how to use the arts in psychotherapy. Nevertheless, readers may consider the results of the present study transferable to other healthcare disciplines. Questionnaires for each developmental phase were used for data collection, and analysis included data quantification, assessment of inter-rater agreement and theory derivation procedure. Results indicate that creative arts therapies students were concerned about translating theory into practice, learning how experienced therapists concretely function in practice, and reducing cognitive dissonance upon realization that their pre-training lay conceptions of helping were no longer valid. Stress and anxiety drove students to adopt easily mastered techniques that were implemented creatively in practicum. The results confirm that students who were older and had undergraduate human-service education and/or considerable life experience were less concerned about their suitability to the profession, were more acquainted with a professional working style and searched for their individual way of becoming therapists. Finally, recommendations for future research are suggested, and implications for practice are offered.

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“…Professional development has been defined as “an ongoing process through which an individual derives a cohesive sense of professional identity by integrating the broad-based knowledge, skills, and attitudes within psychology with one’s values and interests” ( Ducheny et al, 1997 , p. 89). There is relatively limited research on the professional development of CAT students, including in art therapy ( Feen-Calligan, 2005 ), music therapy ( Luce, 2008 ), dance movement therapy ( Federman, 2011 ), and drama therapy or psychodrama ( Orkibi, 2010 , 2012a , c ).…”

Section: Introductionmentioning

confidence: 99%

Helpful and Hindering Factors in Psychodrama Field Training: A Longitudinal Mixed Methods Study of Student Development

Azoulay

Orkibi

2018

Front. Psychol.

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Although the literature indicates that students in mental health professions start to form their professional identity and competence in graduate school, there are few studies on the in-training experience of creative arts therapies students. This mixed methods study examined how five first-year students in a psychodrama master’s degree program in Israel experienced their field training, with the aim of identifying the factors likely to promote or hinder the development of their professional identity and sense of professional ability. Longitudinal data were collected weekly throughout the 20-week field training experience. The students reported qualitatively on helpful and hindering factors and were assessed quantitatively on questionnaires measuring professional identity, perceived demands-abilities fit, client involvement, and therapy session evaluations. A thematic analysis of the students’ reports indicated that a clear and defined setting and structure, observing the instructor as a role model, actively leading parts of the session, and observing fellow students were all helpful factors. The hindering factors included role confusion, issues related to coping with client resistance and disciplinary problems, as well as school end-of-year activities that disrupted the continuity of therapy. The quantitative results indicated that students’ professional identity did not significantly change over the year, whereas a U-shaped curve trajectory characterized the changes in demands-abilities fit and other measures. Students began their field training with an overstated sense of ability that soon declined and later increased. These findings provide indications of which helping and hindering factors should be maximized and minimized, to enhance students’ field training.

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Students’ artistic experience before and during graduate training

Cited by 19 publications

References 34 publications

Linking collective self-esteem to well-being indicators of arts therapies students and practitioners: Meaning and engagement as mediators

Linking collective self-esteem to well-being indicators of arts therapies students and practitioners: Meaning and engagement as mediators

The Applicability of a Seminal Professional Development Theory to Creative Arts Therapies Students

Helpful and Hindering Factors in Psychodrama Field Training: A Longitudinal Mixed Methods Study of Student Development

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