Indicadores del Cuadro de Mando Integral (CMI)

The four C’s method is based on the concept of the traditional yarning circle - a space where stories

are told and knowledge is shared - and Winnicott’s theory of the

transitional space and the transitional object. The

transitional space is an intermediate area of

experiencing, to which inner reality and

external life both contribute.

2). The outer circle (Winnicott, 2002, p.

represents the holding embrace of

the mother (Winnicott, 2002),

holding the participants in a safe environment.

The cake and a drink are the transitional objects

(Winnicott, (2002, p. 2) which can be carried throughout the session by the participants to give them a sense of security. The conversations take place within the circle and outside the circle. The session begins when everyone is seated in the circle. Guiding the participants in this space is a facilitator with qualifications in group facilitation, group process, and/or psychology, art therapy, Community cultural development, or a similar multi-modal approach depending on the interests or needs of the group.

4.6.1 Step One: Creating the space

Establish a safe space which is both physically and emotionally welcoming.

Create a hospitality area near the front entrance with enough space where people can congregate while

CAKE and a drink

CREATIVITY CONVERSATION S

waiting for the session to commence. Create a circle of chairs or set up a table with chairs around it depending on the number of participants – a small group (2-8 people) are seated around a table, a larger group are seated in a circle on chairs. When working with vulnerable people in the break-out sessions the ratio of facilitators to participants should be no more than 1 to 8, to allow equal time for sharing.

4.6.2 Step Two: The invitation

.

Group bonding starts outside the circle. Using hospitality as a tool to gather people together in one place, a congregation space is set up outside the circle. Tea, coffee, water and refreshments are made available and participants are made aware that they can take a drink with them when they sit down. The cup or bottle of water becomes ‘the transitional object’ (the familiar object) that they can carry with them throughout the session if they so desire. On the first day of the group the participants are greeted at the door by the facilitator or a volunteer who offers them refreshments and directs them to the chairs. In the following weeks, a nominated person greets new members at the door.

4.6.3 Step three: Establishing rituals

Rituals are important when facilitating regular group meetings for vulnerable people. Each week the participants enter the room and find that chairs are placed in a circle, or a table with chairs around it. The group conversations commence when everyone one is seated in the circle. During the first or second meeting group guidelines are developed collaboratively by the group facilitator and the participants and these are reiterated at the beginning of each subsequent meeting. The conversations in the circle are guided by the group facilitator based on these guidelines.

4.6.4 Step four: the break-out sessions

The creative activities take place outside the circle. Different activities can be introduced throughout the sessions – either individual activities, a collaborative work or a group exercise where everyone works individually then returns to the circle to share their insights.

4.6.5 Stage five: The completion rituals

For completion of the session everyone comes back to the

circle. The facilitator guides the

conversations that take place around the

circle with participants having equal

time to speak. about their experiences

during the session. The session concludes in the

circle with a ritual developed by the participants. The

same routine and rituals are used each week to conclude each session. The participants are informed that if further debriefing is required a meeting with the facilitator can be arranged.

DE- BRIEFING CONVER-

4.7 Chapter Summary

This chapter describes my initial engagement with vulnerable older women in my role as a Community cultural development practitioner (Ccd) and participatory observer across three distinct housing settings. The three art groups are described, and the activities explained. The similarities and differences between the three groups are analysed and a new art-based model for working with a vulnerable population is revealed. The following chapter introduces the methodological approach taken for this enquiry. The research design is discussed and the procedure for applying the Heuristic model within a feminist participatory approach is demonstrated.

Chapter Five: The method is the journey. The journey is

the method.

Qualitative researchers frequently draw from many interrelated, interpretive approaches to better answer their research question, and qualitative studies can be infused

with several different qualitative approaches.

(Denzin and Lincoln, 2005; Sandelowski, 2000 cited in Hightower, 2009, p. 70).

5.1 Introduction

Despite some significant advancements in the field of homeless policy and practice in recent years, there are key methodological issues that appear to complicate the research process when conducting research into homelessness. These issues include, but are not limited to, restricted participant access to a typically mobile and highly vulnerable population, making them hard to reach. Other issues include applying traditional research methods that rely on large samples and quantitative surveys that ultimately limit the depth of understanding of the personal journey; and inadequate appreciation of the gender-specific nature of homelessness in research sampling.

In document DISEÑO DE BALANCED SCORECARD (BSC), APLICADO A TOP APART HOTEL LTDA. (página 19-0)