Last week I took part in an interesting Motivational Interviewing & Beyond webinar, focused on the craft and, as I see it ,the art of helpful conversations.
I say “as I see it” as at the outset it was clear that amongst the panelists we had different views of the meaningfulness of art and its relevance to the different kinds of work each of us practise. So, drawing on several key influences, this post sets out more of the “as I see it.” I want to show how focusing on the artistry of coaching can be immensely liberating and rewarding.
Motivational Interviewing
First, a quick background about Motivational Interviewing (MI). In the words of its co-founders, MI is “a particular way of talking with people about change and growth to strengthen their own motivation and commitment.” There’s a very solid, scientifically grounded evidence base of research that confirms the effectiveness of MI in supporting change and growth in a range of therapeutic fields.
I believe many of the skills of MI practice are also highly relevant to sports coaching, if we allow ourselves to reimagine what great coaching can be: an uncluttered, empathetic listening without judgement or preconceived assumptions of what people are capable of; avoiding the “fixing reflex” of jumping in with ready made solutions, instead skilfully drawing out and ‘evoking’ each person’s will and ability to find the best in themselves; and above all, bringing what co-founder Stephen Rollnick calls his three Cs: a “calm, compassionate, curious” attentiveness to the person in front of us. Stephen also happens to have mentored me through the writing of Beyond Belief: the art of confidence-centred coaching - so I am indebted to him not just for the ideas and practices but for his encouragement and guidance.
Science and Art in coaching
Another big influence on my thinking and developing practice has been US Performance Psychologist Michael Gervais. Some ten years ago or so, when I was first developing confidence-centred coaching, I came across this short clip of Michael talking about the difference between the science and art of great coaching.
THAT’s where I wanted to develop my skills and practice: the genuine valuing and caring for another person, the relationships of trust to develop and tend to and the power of coaching moments that leave a deep, confidence enriching imprint on those we seek to support.
For sure I need the technical and tactical, objective grounding of the science to steer athletes to great performances. Yet it was the idea of coaching as an art form, highly creative and based in more subjective feelings that really excited me and that I continue to want to excel at.
Creativity
Two more big influences that helped flesh out the idea of coaching as an art coming up. And the first is the late Sir Ken Robinson.
“My definition of creativity is ‘the process of having original ideas that have value.’”
As I set out in Beyond Belief, there are three key ideas in his definition of creativity. First, it’s a process - not some random, accidental happening that comes out of nowhere. Think of a painter readying themselves to practise their art. There’s an un-cluttering, a clearing of the mind to focus on what is before them, a searching for a connection, looking more deeply each time to truly see what is in front of them. There’s also a bringing themselves to the work, who they are, as if engaging with the subject - not just dispassionately replicating it.
Second, there is an originality in the sense of actively looking to develop something new each time - of having an openness to explore whatever might arise rather than simply repeating the tried and trusted. Too much of coaching goes to a buttoning down and repetition of a so-called “right way.” What if our starting point was the uniqueness of the person in front of us?
And third, there is an element of value. For those we coach this might be a joy in the fluency and everything coming together in the moment - not just the end result. And as a coach I want to feel a sense of reward from having tried something new, seen what worked, or didn’t, learning all the time and staying fresh.
Now, if this kind of artistry and creativity is a process, then it suggests to me that we can all develop a skilful, artful, personal practice. It also suggests we can bring an openness and creativity to pretty much everything we do. And that creativity is not limited to a few ‘arty’ types (much as there are some extraordinary artists out there).
points of Creative Interaction
So how might this look in practice? In the webinar I outlined four critical points of what I think of as creative interaction where I have to bring the very best of my craft. These were inspired by a model from Dance Movement Psychotherapist, the late Jill Hayes, that I adapted for my coaching to focus on what I need to excel at.
It starts (as always) with connection: of stilling our minds, of being wholly present and attentive to the person or people in front of us. A helpful, practical guide I have used over many years - for which I can’t claim any credit for as it came from a tutor many years ago - is the Ten and Two Rule. When someone shows up for a training session or maybe a one to one consultation, I have ten seconds - no more - to make them feel welcome. If I miss that brief moment, chances are they will not feel seen and heard for who they are and the coaching will feel like something done to them, not with them. And the Two is two minutes to set the tone for everything that follows. (Keep it warm, short and to the point, Mike!)
Second, I want to generate a sense of shared energy and engagement. This is not “fake it ‘til you make it” or whipped up on the surface frothy energy. It starts with fundamentally believing in what we can do together and bringing a clear sense of purpose. Being clear on why we are here and how it will help sets the ground for a dynamic engagement, athlete and coach immersed in a purposeful session and feeding off each other’s energy.
Next I want to create a space for exploration: trying out and experimenting with what works, maybe suggesting a “how would it be if we…” and all the time rooted in what the athlete feels, rather than what it looks like. Here’s where Michael Gervais’ coaching moments come to the fore: those two or three seconds immediately after someone has performed an activity and we can have such a powerful effect on wha they take away from the moment.
Finally, as the session or conversation draws to an end I want to create a short pause for the athlete to hold on to what they have found: a kind of banking what they have experienced, ready to take into the next session and build on.
Now think how much more rewarding and enjoyable our coaching could be if we came to each session and encounter as a creative endeavour where we can bring the very best of what Donald Schön in The Reflective Practitioner called “the spontaneous behaviour of skilful practice.” As expanded on in the chapter The Magic of Creativity in Beyond Belief, I believe this is coaching at its very best and most rewarding - where there is a creative interplay, the coach and coached sharing in making something new and fresh that has a depth and energy of its own and leaves both enriched.
For now, imagine the air of hushed expectancy as a jazz trio, a dance company or other artists are about to enter the stage, ready to bring the best of their craft to the open space.
As always please leave any reflections and thoughts in the Comments box below.