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Three Creative Approaches toCounseling SupervisionMary Amanda Grahama, Mark B. Schollb, Sondra Smith-Adcockc &Elaine Wittmannd

a Seattle University, DuPont, Washington, USAb Wake Forest University, Winston-Salem, North Carolina, USAc University of Florida, Gainesville, Florida, USAd Rainbow End Retreat and Treatment Center, Beech Mountain,North Carolina, USAPublished online: 25 Sep 2014.

To cite this article: Mary Amanda Graham, Mark B. Scholl, Sondra Smith-Adcock & Elaine Wittmann(2014) Three Creative Approaches to Counseling Supervision, Journal of Creativity in Mental Health,9:3, 415-426, DOI: 10.1080/15401383.2014.899482

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Journal of Creativity in Mental Health, 9:415–426, 2014Copyright © Taylor & Francis Group, LLCISSN: 1540-1383 print/1540-1391 onlineDOI: 10.1080/15401383.2014.899482

Three Creative Approaches to CounselingSupervision

MARY AMANDA GRAHAMSeattle University, DuPont, Washington, USA

MARK B. SCHOLLWake Forest University, Winston-Salem, North Carolina, USA

SONDRA SMITH-ADCOCKUniversity of Florida, Gainesville, Florida, USA

ELAINE WITTMANNRainbow End Retreat and Treatment Center, Beech Mountain, North Carolina, USA

Counselor supervision is fundamental to the development of ethi-cal and competent counselors. As with any approach to workingwith students, a “1-size-fits-all model” is not always the most effec-tive approach to supervision with developing counselors. Creativeapproaches to counselor supervision involve the use of nonlinearand nontraditional methods. In this article, the authors apply 3 cre-ative approaches to a single case. Through this case application,they demonstrate the effectiveness of bibliotherapy, psychodrama,and sandtray in the supervisory process.

KEYWORDS counselor development, counselor supervision,creativity in counseling, expressive arts

Traditionally, the focus in counselor supervision has not been on creativ-ity (Hecker & Kottler, 2002). Conventional counseling supervision has beenfocused on models of reasoning and logic, guiding the supervisee to focuson specific counseling techniques and interventions and the rationale behindthe use of them (Lahad, 2000). Traditional supervision is not always the best

Address correspondence to Mary Amanda Graham, Department of Counseling andSchool Psychology, Seattle University, 901 12th Avenue, Seattle, WA 98122, USA. E-mail:grahamm@seattleu.edu

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route for promoting counselor development. A “one-size-fits-all” approach isinconsistent with best practices in counselor education and supervision.

According to Carson and Becker (2004), the academic arena has notalways been conducive or welcoming to creativity. They affirm, “The verymechanisms perpetuated in higher education may be counter to the con-ditions necessary for developing counselors who are able to explore andfind their creative voices, whether they pertain to faculty and supervisors orsupervisees” (p. 111). The use of creative approaches to counseling super-vision acts as a catalyst to encouraging counselors-in-training to use creativeapproaches in their work with clients (Carson & Becker, 2004).

The use of expressive arts in counseling supervision providessupervisees with an avenue to connect on deeper levels, tap into self-expression and creativity, and develop counseling skills that will aid clients(Carson & Becker, 2004; Neswald-McCalip, Sather, Strati, & Dineen, 2003;Newsome, Henderson, & Veach, 2005). Because professional counselorsrealize clients respond to a variety of counseling techniques, theories,and interventions (Gladding, 2010), it follows that developing counselorssimilarly respond to a variety of supervision techniques, theories, and inter-ventions (Neswald-McCalip et al., 2003). Given this knowledge, it is theresponsibility of the supervisor to provide an atmosphere that is individ-ualized, optimal, and nurturing for counselor growth and development.Therefore, the purpose of this article is to describe three creative approachesto be used in counseling supervision. In the sections that follow, theauthors discuss the application of bibliotherapy, psychodrama, and sandtraysupervision to a composite, but fictional, case of a counseling supervisee,Wendy.

THE CASE OF WENDY AND SUPERVISION: A GENERALIZEDSUPERVISION SCENARIO

Wendy, a student in the counseling program, was feeling heightened anxietyand stress. She shared with her individual supervisor feelings of inadequacyand a lack of confidence in her skill development. She expressed that sheconstantly compared herself to her classmates in the program. Wendy sharedher fear of being seen as inadequate, failing the program, and not being ableto work effectively with clients. She was having a difficult time quieting hermind and was distracted during sessions with her clients. This level of fear,comparison, and anxiety is not uncommon for novice and developing coun-selors (Bernard & Goodyear, 2013). Reflecting on this scenario, the authorswill outline three specific supervision modalities and summarize how thesewould be useful in this case.

With these approaches, as with any supervisory approach, it is impor-tant that supervisor and supervisee are open to the process, that there are

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agreed-upon goals and expectations, and that a working alliance is fostered.The supervisee should give informed consent and should understand theintent and purpose of any creative intervention used (Bernard & Goodyear,2013). The supervisor must be aware and respect the readiness of thesupervisee for the experiential process, and both supervisor and superviseemust understand the therapeutic use of images, metaphors, and fantasy.Previous research has indicated that creative techniques in supervision suchas bibliotherapy can be utilized to strengthen the working alliance in super-vision and the development of the emerging counselor (Graham & Perhsson,2008). Providing the appropriate supervisory context for these interventionsallows for supervisees to buy in, as well as to feel safe and supported. Thefollowing case scenarios are presented with these foundational supervisionmodels in mind.

BIBLIOTHERAPY/BIBLIOSUPERVISION

The Graham model of bibliosupervision (GMB) is a process guided by thesupervisor using fictional children’s literature to support the developmen-tal processes of the supervisee and draws from Shrodes’s (1949) modelof bibliotherapy. The bibliosupervisor assists the supervisee in identifying,analyzing, or relating to the characters and storyline. Within the supervi-sory setting, this approach provides safety for the supervisee to engagein a dialogue about the story and thus to express emotions, thoughts,concerns, and issues that may otherwise be intimidating. Together, thebibliosupervisor and supervisee develop plans of action that will facilitatethe supervisee’s progress from novice to expert. The three-step process ofusing bibliosupervision (Graham & Pehrsson, 2008, 2009; Shrodes, 1949)includes:

● Identification: Supervisees connect with characters and themes in theliterature linked to counselor development.

● Catharsis: Supervisees are able to process and understand emotions,thoughts, feelings, and behaviors as they relate to counselor developmentby their connection to the literature. Supervisees are able to verbally pro-cess their growth experiences in a supervisory setting that is safe andnurturing through the use of this technique.

● Insight: Following catharsis, the supervisor and supervisee have construc-tive dialogue that aids the supervisee in self-awareness and growth that isconsistent with counselor development and training.

The following protocol acts as a guideline for supervisors to use whenimplementing this technique (Graham & Pehrsson, 2008, 2009):

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● Supervision begins with a weekly check-in on current site issues, clientissues, and/or concerns.

● Biblosupervision takes place within a single supervision session.● Bibliosupervision may be repeated during subsequent sessions or as

needed.● There is flexibility with this technique. The supervisor has the choice

of reading the literature to the supervisee or having the superviseeindependently read the literature prior to or during supervision.

● The processing of the experience occurs during the supervisory meeting.● Bibliosupervision allows the supervisor to link literature to the current

developmental level of the supervisee and to specific client issues andclient recordings.

Suggested guiding questions include: What did the story mean to you?What were the key themes in the story? What was happening with the char-acter in the story? Do you relate to these themes or characters? How? Whatin the story can you connect with in regards to your training and work withclient(s)? What can you take away from this experience, and what is mostrelevant in your development and your client’s growth (Graham & Perhsson,2008, 2009)?

Bibliosupervision Materials: Books

It is imperative that bibliosupervision books be vetted prior to use with asupervisee. Ideally, supervisors select books having a wide array of themesconsistent with the developmental levels and needs of supervisees. Thisallows the supervisor to understand suitability to the setting, diversity issues,social justice perspectives, themes, and transferability to supervision andpractice (Graham & Pehrsson, 2009; Pehrsson & McMillen, 2005).

Bibliosupervision Application

Given the high anxiety Wendy is facing at her current stage of counselordevelopment, a suggested book to use with her would be Lost in the Woodsby Sams and Stoick (2004). This book parallels some of Wendy’s experiences.It is a story of a young fawn that is left alone by her mother in the woods.Initially, the fawn is frightened. She quickly learns to put her fears aside andto rely on her inner strength and instincts. To feel safe in a new territory,she pulls from what she was previously taught. The book focuses on issuesof reliance, trust, growth, development, strength, self-awareness, and devel-opment. In this book, the fawn goes through a process of comparing herselfwith other animals in the forest, which is similar to Wendy’s process. Afterthe supervisor reads the story to Wendy, they follow the GMB protocol and

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suggested questions. The supervisor facilitates dialogue with Wendy by con-necting themes and linking counselor development as it relates to the story.In the end, the fawn realizes her strength and is able to survive the forestindependently. The fawn may not have been the first animal in the forest todevelop independence and confidence, but she certainly came into her ownin her own time, just as Wendy will come into being a strong counselor andadvocate for clients.

PSYCHODRAMA SUPERVISION

Moreno’s psychodrama theory (1946, 1969, 1993) described a developmen-tal progression culminating in an increased capacity for authentic, intimaterelationships. Psychodrama empowers participants to enact certain underde-veloped aspects of their identities and facilitates self-awareness, self-efficacy,and autonomy (Gladding, 2010). In counseling supervision, the inten-tional use and processing of psychodramatic enactments allows for creativeand spontaneous self-expression as well as increased engagement in thesupervision process (Scholl & Smith-Adcock, 2007). As with other creativeapproaches to counseling supervision, psychodrama frees conscious andunconscious information that guides the learning process (Neswald-McCalipet al., 2003; Newsome et al., 2005; Smith-Adcock et al., 2010).

Scholl and Smith-Adcock (2007) recommended that psychodrama tech-niques be used in counselor supervision to address counselor developmentthemes, as articulated by Loganbill, Hardy, and Delworth (1982). For exam-ple, Loganbill et al. asserted that advanced counselors are more likely tobe concerned with issues related to counselor identity (e.g., counseling ori-entation), whereas beginning counselors like Wendy are more likely to beprimarily concerned with issues related to their sense of competence in usingtherapeutic techniques.

Psychodrama Materials/Procedures

A number of traditional psychodrama techniques can be used in counselingsupervision (Scholl & Smith-Adcock, 2007). Sociometric exercises are usefulfor self-awareness and involve group members physically positioning them-selves (e.g., sitting in a specific chair representing their current emotionalstate) to demonstrate their emotions, preferences, roles, and values (Lipman,2003). Role talk involves naming an attitude or aspect of oneself (e.g., lack ofconfidence) so that it can be objectified and role-played to foster creativity,flexibility, and change (Blatner, 2003). These techniques can be adapted forvaried supervisory goals and supervisee concerns.

Psychodrama activities usually include three stages: warm-up, action,and sharing or processing. In the warm-up stage, participants engage in

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introductory conversations and experiences (e.g., sociometric) that preparethem for action. During the action stage, the “walk and talk” sets the pro-cess of psychodramatic action in motion. The protagonist and director walkand talk together, and this process strengthens their bond and enhances thequality of the therapeutic alliance. During the “walk and talk,” the protago-nist and director discuss the goals they would like to accomplish during thesession. In the action stage, participants become fully engaged in adoptingpsychodramatic roles. New roles and behaviors are identified and practiced.The final stage, sharing, allows participants to remove themselves from therole and to focus on processing of feelings, thoughts, and behaviors, aswell as integrating the experiences of the action stage into their identitydevelopment (Lipman, 2003).

Psychodrama Application

Wendy is dealing with issues of competence as a beginning counselor(Loganbill et al., 1982). Though using psychodrama in supervision is bestsuited for a group dynamic, using these techniques with a single super-visee also can be helpful (Smith-Adcock et al., 2010; Stein & Callahan, 1982).Because Wendy has feelings of inadequacy, it is likely that she views herselfas less competent, at least in some respects, compared with one or moreof her classmates. Psychodrama techniques can help Wendy clarify, specify,and communicate her feelings and learning needs (Neswald-McCalip et al.,2003; Young & Borders, 1998, 1999).

WARM-UP

As a warm-up, it would be a good idea to interview Wendy to explorethe nature of the comparisons she makes between her and other students.In what respects does she believe that she is less competent or less ade-quate relative to specific students? The supervisor should exercise caution interms of communicating that all supervisees, Wendy included, have strengthsfrom which their peers can learn. The supervisor might also ask Wendy forspecifics regarding the comparisons she makes. For example, suppose one ofthe students to whom Wendy compares herself is a student named Erica. Thesupervisor might ask Wendy to pretend to be Erica and interview “Erica” ask-ing questions such as, “What counseling knowledge or skills do you havethat Wendy might benefit from?” or “What do you admire about Wendy’scounseling knowledge or skills?” In this way, Wendy and the supervisor canclarify what she might learn from Erica.

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ACTION

During the action stage, the supervisor might employ the “walk and talk”as a means of building rapport and as a foundation for their work together.In addition, the “walk and talk” is used to co-construct goals for the super-vision session. For example, the supervisor and Wendy could go for a briefwalk outside of the office and the supervisor might ask questions such as,“What do you hope to learn from the action stage of our work together?”Examples might include identifying specific competencies, behaviors, orskills that Wendy would like to gain and getting an opportunity to practiceusing one or more counseling skills in a role-play. Another question mightbe, “In a role-play in which you portray Erica’s strengths as a counselor,what specific knowledge, attitudes, and skills would you include in yourportrayal?”

In the action stage, the supervisor might role-play the part of a client.For example, the supervisor might play the role of a client from one ofErica’s case presentations or counseling tapes. Wendy, on the other hand,would play the part of Erica and attempt to employ Erica’s counseling styleand skills in working with the client.

SHARING

During the final stage, Wendy and her supervisor could explore her impres-sions of the action stage. What did she learn or gain from the role-play? Didshe achieve her goals for the session? Which of Erica’s strengths was she ableto demonstrate in the role-play and to what degree? Which of these strengths,if any, would she like to incorporate into her own counselor identity? Whatwould she find helpful for accomplishing this? Was this an effective approachto promoting her development as a counselor?

The supervisor should emphasize that all novice counselors have feel-ings of anxiety and inadequacy with regard to their competence. Thesupervisor should also emphasize that although Wendy can learn fromher fellow students, her classmates can also learn from her, and then thesupervisor can provide Wendy with specific examples of her strengths as acounselor.

SANDTRAY AND SUPERVISION

The therapeutic use of sand has been documented across time and cultures.Influenced by H. G. Wells’ research and documentation of children’s play,Margaret Lowenfeld, a child psychiatrist and pediatrician from London intro-duced a tray of sand and small toys into her assessment process. In theearly 20th century, this “world technique” became the model to be used

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for assessment, play therapy, and psychotherapy, as well as in the class-room and was expanded by others in the treatment of children (Lowenfeld,1950).

The use of sandtray grows out of personal “phenomenological,hermeneutic research with normal pre-school children” and work withchildren, adults, families, and couples (De Domenico, 1988, p. 30). Sandtray–worldplay was developed as a “phenomenological based method thatacknowledges the multidimensional depths of human consciousness” (DeDomenico, 2008). Most clinicians using sand-tray methods find that use ofa tray, approximately 20 inches × 30 inches and 3 inches deep, filled withsand, allows an individual to build scenes with small figures to connect to theunconscious. As part of this practice, the therapist holds the protected spaceand supports the human experience, and the therapist’s own countertrans-ference follows the builder’s experience in the play and may be involvedin the play as well. When sandtray is used in counseling supervision, thesetherapeutic processes are paralleled.

As a clinical supervisor supervising interns and provisionally licensedclinicians, as well as consulting with master therapists, it is essential to beaware of the developmental needs of each individual as well as the expec-tations for levels of development for the counselor. Using a developmentalmodel of supervision (Amatruda & Helm Simpson, 2001) combined withthe discrimination model (Bernard, 1997), the role of supervisor in relationto working with the sandtray involves teaching, skill building, consulting,guiding, monitoring, and evaluating the counselor. By combining the clini-cian’s experience with sandtray and these theories of supervision, the processbecomes a dance of supervision. Bringing in the creative process can thentap into innate wisdom through the play metaphor and give greater insightsto the counselor and the supervisor.

Sandtray Procedures and Materials

The psyche (inner self) leads as the builder creates a story in sandtray–worldplay, and the builder is given access to express personal, familial,ancestral, archetypal, and spiritual experiences. The objects placed in thesandtray become a symbolic projection that resituates the client’s transfer-ence toward the objects in the tray rather than to the witnessing clinician(De Domenico, 2002, 2008; McNally, 2003; Rae, 1998). Sandtray supervisionis offered for a supervisee to process the world of the client, the group,the family, the world of the therapeutic issue, the world of the therapy, andthe world of the clinician. Supervisees are invited to present the case in thesand. Supervisees are given the direction to “put the world in the sand.”The supervisor’s task is to observe the process with the counselor. Stagesof development for the counselor (builder) are assessed for skill buildingand plans for training. The supervisor has a window to observe how thebuilder perceives the dynamics and conceptualization of the presented case.

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The supervisor also identifies clinical issues including parallel process andtransference issues and areas for the personal growth of the supervisee.Presentation of cases in the sand also provides a training ground for sandtraytechniques and helps to build confidence in its use.

Sandtray Application

In one of her supervision sessions, Wendy was gripped by self-doubt as sheanxiously awaited a session with an adolescent diagnosed with oppositionaldefiant disorder. Wendy put the case in the sandtray. As Wendy presented thecase, she described the anxiety she felt as the next appointment approached,feeling defensive and powerless, as the teen appeared to use her power todistract and control the session. Wendy placed a black iron figure of anarcher in the center of the tray. This adolescent (archer) was shooting thearrow toward the two-headed dragon of the counselor. One head was therational counselor who wanted the best for the client, and the other headspewed fire in defense. As they squared off in the tray, Wendy was askedto feel the discomfort of the altercation as the dragon. Wendy spoke forthe dragon and was able to express the anxiety and the powerlessness shefelt. Wendy was then asked to “be with” the archer; she was also asked totell what the archer defended, the history of the archer, and obstacles thatwere then placed in the sand. The archer was not safe, and for the lifetimeof 14 years, the archer needed to find a way to protect herself. The archerwas defending herself against the world, and the world responded muchas Wendy did. As the archer defended, guarded, and protected herself, shemight not be hurt, and no one could see behind the arrows. Wendy wasasked to be present with the protectiveness of the archer as she experiencedthis in a new way. Experiencing the “archer” allowed Wendy to define whatthe archer needed and ways in which she could reach out to this hurtingteen. Wendy placed a figure of open hands in the tray. Wendy was awarethat she could present as a dragon and “spit fire back and defend” herself orexperience the world of the child and “be more open and receptive to the fire(of the client and herself).” Once the intern was able to see the transferenceof the client into her environment and her own countertransference withinthe metaphor, she was able to respond differently and more creatively to theclient as well as to herself.

CONCLUSION

Creative approaches to counselor supervision facilitate the developmentand growth of effective and reflective counselors (Newsome et al., 2005).We have provided several frameworks of supervision that facilitate cre-ative, nonlinear approaches to the supervisory process. Each of the three

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creative supervisory approaches was successfully applied to the same fic-tional supervisee, while focusing on the growth and development of thestudent.

According to Carson and Becker (2004), creativity invites intimacy anddepth in the therapeutic relationship. It is, therefore, essential for supervisorsto understand and utilize these approaches with care, as they may intensifyan already reflective and growth-oriented process. Furthermore, there is thepotential for role complexity and conflict (e.g., dual relationships) whensupervisors take on more counseling-oriented goals with their supervisees(Bernard & Goodyear, 2013). Therefore, we recommend supervisors considerthe use of creativity within the context of the developmental level of thesupervisee, the nature of the supervisory alliance, and their own skill levelin the use of these approaches.

All three creative supervision approaches promote a fresh perspectiveon the supervisee’s development through the use of role-play, storytelling, ormetaphor. These creative processes lay the foundation and provide a frame-work for less threatening approaches to supervision compared with moretraditional evaluative approaches. They provide a venue for deep reflec-tion and growth. In addition, these approaches are freeing and decreasethe supervisees’ defensiveness. As a result, all three supervision approachesfacilitate supervisee self-awareness, openness to feedback, flexibility, andpositive change.

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Young, S. J., & Borders, L. D. (1999). The intentional use of metaphor in counselingsupervision. The Clinical Supervisor, 18, 137–149.

Mary Amanda Graham is an Associate Professor in the Department ofCounseling and School Psychology at Seattle University, Seattle, Washington.

Mark B. Scholl is an Associate Professor in the Department of Counseling atWake Forest University, Winston-Salem, North Carolina.

Sondra Smith-Adcock is an Associate Professor in the Department ofCounselor Education at the University of Florida, Gainesville, Florida.

Elaine Wittmann is a Registered Play Therapist and Supervisor at RainbowEnd Retreat and Treatment Center, Beech Mountain, North Carolina.

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