8.
What will you now do differently?
9.
Are you comfortable writing a testimonial for me (the coach) on
the overall experience and how could you word this?
10. If you are willing to endorse and recommend my coaching, but are
stuck on how to write a testimonial, would you like me to help you
with this?
11. Do you have an interest in adding coaching to your portfolio of
skills or becoming a Life Coach yourself?
Coaching and development activities can be evaluated before, during
and after the activities.:
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Before the Implementation Phase
Will the selected coaching and development methods really result
in the coachee's learning the knowledge and skills needed to
perform the task or carry out the role? Have other coachees used
the methods and been successful?
Consider applying the methods to a highly skilled coachee. Ask the
coachee of their impressions of the methods.
Do the methods conform to the coachee's preferences and learning
styles? Have the coachee briefly review the methods, e.g.,
documentation, overheads, etc. Does the coachee experience any
difficulties understanding the methods?
During Implementation of Coaching
Ask the coachee how they're doing. Do they understand what's
being said?
Periodically conduct a short test, e.g., have the coachee explain the
main points of what was just described to him, e.g., in the lecture.
Is the coachee enthusiastically taking part in the activities? Is he or
she coming late and leaving early. It's surprising how often learners
will leave a course or workshop and immediately complain that it
was a complete waste of their time. Ask the coachee to rate the
activities from 1 to 5, with 5 being the highest rating. If the coachee
gives a rating of anything less than 5, have the coachee describe
what could be done to get a 5.
After Completion of the Coaching
Give him or her a test before and after the coaching and
development, and compare the results?
Interview him or her before and after, and compare results?
Watch him or her perform the task or conduct the role?
Assign an expert evaluator from inside or outside the organization
to evaluate the learner's knowledge and skills?
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Sources:
Wendy
Buckingham:
http://www.all-about-becoming-a-life-
coach.com/coaching-evaluation.html#ixzz1qnBdNDgw
http://managementhelp.org/training/systematic/ROI-evaluating-
training.htm
http://www.network-marketing-mlm-success-
system.com/summarizing.html
The Art of Counselling / De Kunst van het Counselen
© Copyright Owner:
Academy for Counselling and Coaching - The
Netherlands - Paul van Schaik
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3.18 ENACTING
3.18.1 Visualization and imagery
Mental imagery, sometimes know as visualization, is the method used
to recreate experiences in the mind using information from real events.
This information is stored in our memory. Dreaming is a scattered form
of imagery and the imagery. The visualization of interested here is
structured imagery, where the athlete uses his or her imagination in a
controlled fashion to recreate specific images for a precise goal.
There is a difference between visualization and imagery. Imagery is full
body sensation, i.e. see, feel, smell, and touch the experience.
Visualization is only “seeing” the experience. It has been found that
imagery is the more powerful of the two.
There a three main ways of imagery. 1st person, you see and experience
the event thorough your eyes as you are the competitor. 2nd person,
you’re watching from the standpoint of a spectator or coach, and 3rd
person, it’s like you’re watching a movie, detached from the entire
event.
Research has shown that the most effect perception to use is 1st
person. In addition, research also shows that the more able an athlete is
to control his or her imagined movements, emotions, sounds etc, the
greater the potential performance enhancement.
As for hypnosis, there’s nothing mythical about it…all hypnosis is self-
hypnosis. The process of hypnosis is nothing more then getting the
brain into the Alpha state. This is a state where there is direct access to
the sub/un-conscious mind. Basically this is simply a method of
inducing a state of heightened relaxation and awareness. And when
achieved, provides an ideal mental environment in which to practice
imagery.
Indeed, the effects of imagery can be even more powerful when
practiced in an Alpha state (hypnotic).
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How Imagery Works
Research has shown that visualizing a specific muscle movement (in
the mind) can create electrical activity in that same muscle even though
there’s no actual movement in the muscle itself! In addition, the specific
pattern of muscle activity closely resembles that seen during actual
movement.
So what does this mean?
Detailed and controlled imagery can stimulate electrical impulses in
the desired muscles, and then those ‘primed’ muscles are ready for
the physical activities that follow.
Physical skills can be maintained or even improved by proper
imagery when practice isn’t possible, i.e. injury, off season, etc.
Evidence also suggests that using imagery can even accelerate
rehabilitation and recovery after injury.
As for the best type of imagery to use, until recently evidence suggested
it depends on what you’re trying to achieve. For the acquisition or
improvement of sports skills, it was thought that using an external
perspective (i.e. that of spectator) was best for learning or retaining
those skills. For ‘psyching yourself up’ or priming yourself for an event,
an internal perspective (i.e. imagining the feelings in the muscle)
produced better results.
Now, new research indicates that the best results are archived when
using first person or internal perspective, although there are benefits
from the second person perspective as well.
Combined with other techniques, such as the use of music, imagery can
enhance performance or enter the Alpha state. Combining both mental
imagery practice and physical practice can be more effective than
physical practice alone. Data from various studies have also shown that
mental imagery conducted in a state of hypnosis (Alpha) results in far
more vivid and realistic imagery than without.
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The practical use of imagery while in hypnotic (Alpha) state is
numerous. It can be used for skill learning, preparation for an event,
injury healing and what if scenarios.
Imagery involves creating or recreating an event or a scene in one’s
mind. For example, an athlete can use imagery to create a perfect swim
performance, or he or she can call to mind a past successful
performance. Imagery involves all the senses. When athletes are using
imagery they should try to not only see but also to hear, feel and smell
all that is going on in the imagined situation. For maximal benefits, the
image needs to be as close to reality as possible. Research shows that
imagery, if used purposefully, is a skill that enhances performance. But
if the imagery becomes negative it can be a detriment to performance.
Make athletes aware of the numerous ways that imagery can be used to
help performance. Having this understanding will enable them to
obtain the maximal benefits from imagery and will also enhance their
motivation to practice and use imagery. Specifically, athletes can use
imagery to do the following:
To see and feel success. Athletes can use imagery to see and feel
themselves achieving goals and performing as they are capable of
doing. Imagery also helps enhance self-confidence.
To motivate. Images of past and future competitions can be called
upon to maintain persistence and intensity level while training and
competing. This type of imaging provides an incentive for continued
hard work.
To manage arousal. Athletes can use imagery to increase or decrease
arousal. For example, athletes can visualize a peaceful, relaxing scene
to decrease arousal whereas motivating images can be used to
increase arousal as needed.
To learn skills and techniques. Athletes can use imagery as an
additional form of practice to help them master a skill. For example,
athletes can visualize themselves doing a perfect flip turn prior to
actual execution.
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To refocus. During practice and competition, many distractions and
situations arise that prevent an optimal focus. Athletes can refocus
themselves by using specific images to achieve the focus needed for
optimal performance.
To prepare for competition. Athletes can use imagery to familiarize
themselves with the competitive environment and to rehearse their
performance or key elements of their performance. In addition, they
can use imagery to prepare for various situations that may arise so
they can develop strategies to cope with these stressors. If the
situation does arise they will have rehearsed it in their minds and
will know how to deal with it.
Imagery is best learned and practiced in a quiet environment when the
athlete is relaxed. It may be beneficial, therefore, to first discuss simple
relaxation skills so that athletes learn how to relax their minds and
bodies prior to learning how to use imagery. It is helpful to develop
imagery skills by initially using non-threatening, non-stressful images.
For example, direct athletes to imagine being on a beach: encourage
them to see, smell, hear and feel the scene. The athlete can then
progress to visualizing swimming skills and, finally, to imaging
competitive situations. With a little forethought, imagery training can
be easily incorporated into physical training instead of making it a
separate component of preparation. For example, coaches can direct
athletes to visualize the technique they are working on prior to
executing the drills, to imagine hard repeats to help prepare them for
the challenge, or to visualize upcoming competitions to enhance
practice motivation.
Athletes need to work on the following two components of imagery:
control and vividness. Teach athletes to control their imagery (for
example, seeing and feeling a perfect start as opposed to visualizing the
slow start that has plagued them in past races) and to make their
images clear, vivid, and as close to reality as possible (for example,
smell the chlorine, hear their parents in the stands, and feel the muscle
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fatigue in the last 50 meters). With continued practice athletes can
manipulate images to see and feel the perfect race and see and feel
themselves responding to any adverse situations. They should be able
to incorporate performance cues into their visualization to create a
vivid image of how they want to perform.
Visualization and imagery is powerful. Our brains do not know the
difference between real and imagined success. We can convince
ourselves that we have already successfully done something, if we are
consistent in “reprogramming” our memory.
And when it is backed up by the physical, for lack of a better word right
now, preparation, it becomes almost magical in its applications.
But you have to believe, you have to want to believe, need to believe. It
doesn’t work if you only “sort of” want it to happen. You need the fire in
your soul, hunger, call it whatever you want, to make the visualizations
take hold and you must spend time at it every day.
Old old principles of psycho-cybernetics and psycho-prophylaxis. Spend
21 days at this and you can set new patterns of behaviour and results. It
really does work but it gets ignored a fair bit. You cannot measure it,
attach a diode to it, track it with a machine that goes ping, so those of us
who are used to taking measurements in scientifically quantifiable
terms get a bit uncomfortable with the principles involved at times.
The thing is: Once we have done something successfully the first time, it
is far easier to repeat that thing.
Our brains are pretty incredible. As long as you do not try to convince
yourself that you will wake up on Day X to discover you have suddenly
lost 20 pounds, grown 6″ and have been awarded a Nobel Prize for
breathing, it will work. The goal still has to be believable and humanly
achievable.
Sources:
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http://www.usaswimming.org/ViewMiscArticle.aspx?TabId=1781&Ali
as=Rainbow&Lang=en&mid=7901&ItemId=4959
Michele Greb (http::/swimhsk.dk)
Gregg Swanson (http://www.warriormindcoach.com/blog/contact-
me/)
(http://www.warriormindcoach.com/blog/2010/08/12/hypnosis-
imagery-and-personal-success/)
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3.18.2 Psychodrama
Psychodrama is the use of action techniques to explore an individual's
private and public world in a multi-dimensional way. It is also useful in
helping the individual to express unexpressed feelings and to find and
practice new ways to change unsatisfying situations in life.
It is a safe environment for people to explore issues and concerns in a
gentle, non confrontational manner. For non-therapists, this method of
psychotherapy allows participants to view their conflicts experientially
from a different perspective and thus resolution is faster and long
lasting. For therapists and counselors, action methods can be
incorporated into an existing therapeutic model providing a new
theoretical framework to increase the effectiveness of clinical skills and
facilitate spontaneity and creativity in the therapeutic process.
Psychodrama explores an individual's world through action
incorporating various modalities such as music, art, roleplay, story
telling etc. to facilitate personal growth. Through enactment, clients
enter the world of their issues in a safe non judgmental environment.
During the enactment, they experience their world instead of talking
about it. After each enactment, all participants share their stories. The
power of the group sharing aids in the healing process.
Psychodramatic interventions are designed to encounter people where
they are, in the present and assist them in contacting and developing
the best that is within themselves, whatever their functioning level.
Psychodrama reinvests power in people.
Source: Psychodrama Training Association
http://www.psychodramatraining.com/article1.htm
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Tips and Techniques
Listed below are a few tips for using action and experiential methods in
one to one therapy. An excellent resource is Stein, M.B. & Callahan, M.L.
(1982). The use of psychodrama in individual therapy. Journal of Group
Psychotherapy, Psychodrama and Sociometry, 35, 118-129.
WARM-UP, ACTION & CLOSURE Each individual session will have a
warm-up, action and a closure segment. During the warm-up, the client
(re)gains, rapport with the therapist, discusses what issues will be the
focus of the session, and readies him/herself for action. The action
phase is the actual psychodramatic portion. The closure is the time
succeeding the action when the client de-roles and cools down from the
role playing. Occasionally, the therapist shares from his own life
experience to assist the client in normalizing, in reducing isolation, or in
presenting new possibilities for further thought and integration. If you
choose to share with the client, remember that the sharing is directed
toward the client's therapeusis.
Sometimes directors and clients are skittish about moving into
psychodrama in individual therapy. Here are some ways to gently
warm yourself and the client up to action.
1) As the client is talking to you, shift your seat to the client's double
position, explaining to the client that you want to be sure you
understand fully what she means and feels. Once in the position, note
that you'll be speaking as the client and that if what you say is correct
the client is to repeat it; if incorrect, to change it.
2) As the client discusses a significant person in his life, ask him to
imagine the person sitting in an empty chair in your office. Ask the
client to describe the person in detail so that you can have a sense of
him/her. Then ask the client to step over into the seat so that you can
ask a couple of questions, again to better understand what the person is
like. You can ask the client to choose a scarf or prop to symbolize the
role.
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3) When a client is recounting a story vividly and is saying first what
she said and then what the other person said, ask her to shift her body
position when she shifts roles.
4) If you have used artwork with a client, ask him to hold the work and
speak from one of the elements of the drawing. You can interview him
as the drawing.
5) When a client is uncertain about the future, ask her to imagine that
there is an imaginary clock face on the floor, each of whose numbers
represents a month in the future. Let's say it's currently April. Ask the
person to stand at 3 (months from April), and tell you what's happening
to her in July.
6) Time line: When a client begins to describe a long chain of events,
ask him to stand and begin at a spot on the floor and walk forward (or
around the perimeter of the space) and stop at specific, important times
and tell you what happened on that date. You can use objects in the
room, scarves, or labeled pieces of paper to mark off the times. When
the exercise is complete ask the client to stand back and see if he can
see any patterns; what sense he makes of all the events when
considered from this perspective; or if any specific time is more crucial
than the others. This may also be done at the beginning of treatment
when taking a history from a client.
7) If a client remarks about or is drawn to an object in your office, ask
her to reverse roles with the object and interview her in the role of the
object.
8) When working with a client whose spontaneity or creativity are
blocked, concretize the Canon of Creativity, marking out areas on your
floor for Creativity, Spontaneity, the Conserve and the Warming Up
Process. Ask the client to walk the Canon focusing on the issue
(conserve) in relation to their spontaneity or creativity or where they
are in the warming up process.
SOCIAL ATOM Make the social atom a regular and routine part of the
one-to-one experience. Remember the therapy maxim, "Treat the
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individual as a group and the group as an individual."
Think systemic. Assess, intervene and evaluate within the client's
social network. Other useful tools are the Food Atom, Addictions Atom,
Future Atom.
HERE AND NOW Most of the session should be focused on the here and
now. Remember that all enactment takes place in the here and now.
Remember that scenes from the past, when enacted, take place in the
"present" of that time; e.g., a client re-enacts an event that occurred
when he was 22. In the scene, he is 22; not his current age of 40.
SET UP THE SCENE As in a group psychodrama enactment, you will
want the client to identify the time and place of the scene. You will also
want the client to describe the other (e.g., three characteristics of the
other) before proceeding with the action. You may also want to
interview the client in the role of the other to gain more information.
This is contra-indicated if the client is very angry at the other or if the
other is a perpetrator. Take your time and do a thorough and complete
warm-up. Use empty chairs for the characters so that the client can do
the role reversals and sit in the other person's chair. Two or three
characters are plenty.
SUPPORT AND ENCOURAGEMENT Where abuse and/or trauma form
the base of the client's issues, the majority of the action phase of the
session should be conducted with others who support and encourage
the client. Create and bring the positive other (someone who is in the
protagonist's corner) into the room prior to bringing in the negative
actor. Create a balance, so that the positive energy is at least as potent
as the negative energy. Sometimes it is necessary to have more than
one positive figure available. Also it is helpful to ask the client to define
some area of the room as a safe, time-out space, where she can go if the
action seems overwhelming at any point. She might use pillows,
scarves or props to define the area.
COACHING Clients can frequently derive much help from interacting
with wise and caring figures. These can be intrapsychic roles like one's
own inner guide, inner counselor, inner friend, one's future self. The
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coach can be a supportive figure from the client's past and present: best
friend; loving grandparent; caring youth group leader. Coaches can also
be transpersonal guides whom the client has never met, such as a
fantasy or historical figure. An all-purpose figure that embodies many
energies is very useful: the Goddess, god, Buddha. Archetypal energies
can also be useful, but each has its own limitations (e.g., the Lover will
always say the solution is to love, while the Warrior will always tell you
the solution is to fight).
DOUBLE Start and end the action phase with doubling the client.
Doubling is one of the most important and client satisfying actions to
take in any one to one session. Use a variety of doubling techniques
(e.g., cognitive, containing, expressive, etc.) The deepening double is
especially useful with timid clients, those who have difficulty accurately
labeling feelings, and with those who have difficulty tapping into the
depth of feeling. With the deepening double the client becomes her
own double.
To utilize the deepening double, do the following: After the client makes
a statement to her significant other in the empty chair, place another
empty chair behind the client in her own double position. Ask her to sit
in the chair and make another statement on the same subject to the
significant other. Then place another chair behind the double chair.
Ask the client to sit in that chair and speak from this deeper place
inside herself. If necessary, place still another chair in the double