ABSTRACT. The arts and humanities have transformative potential as a teaching tool in medical education. Realizing this potential, however, requires that educators approach arts- and humanities-based teaching strategically and critically and in ways that connect learners with insights about their medical practice. This workshop introduces participants to the Prism Model, a framework that emerged from a recent scoping review in medical education. The Prism Model guides educators in considering four approaches to arts and humanities teaching in medicine (including interprofessional education): mastering skills, perspective taking, personal insight, and social advocacy. Each approach offers a different “lens” —a different way of seeing the possibilities for arts and humanities in achieving learning objectives in health professions education.

The workshop begins with an introduction to the Prism Model. Participants will then work through the steps involved in applying this model to imagine and plan an art- and/or humanities-based activity for medical learners. The workshop concludes with a discussion of lessons learned where participants reflect on and share insights gained, challenges experiences, and take-aways for practice.

The workshop involves small group work and large group discussion. It aims to deepen understanding of the transformative potential for teaching with and through the arts and humanities and to explore the arts and humanities as powerful tools to connect learners with insights about their medical practice.

ABSTRACT. Social justice and health equity are concepts central to community health nursing (Dosani, et al., 2020). The inclusion of the arts and creative expression in nursing education challenges students to explore concepts deeply and notice differing perspectives (Raber & Vermeesch, 2022). Rieger et al. (2020) reported that “the arts were a unique catalyst for learning” (p. 255). In this presentation we will discuss the addition of a creative component to an existing group assignment exploring a public health issue at the population level (Dosani et al., 2019). Students created a visual art piece representing their understanding of social justice in response to the issue and population depicted in their concept map. Each student also contributed to a paper reflecting on three questions: 1. Describe your creative component and what it means to you in terms of social justice 2. Discuss your experience of internalizing the concept of social justice as you developed your symbol or art piece 3. Describe the experience of creating a symbol or art piece with your group members that represents social justice learning through your concept map

In this presentation we will focus on the creative component and relevant preliminary findings of our research into students’ exploration of the concept of social justice through collaborative art. We will present students’ visual art pieces, insights about social justice, and reflections on engaging in a collaborative creative process. Lastly, we will offer our perspectives on incorporating collaborative art to explore social justice in the context of population health.

ABSTRACT. Improvisational theatre, often called improv, is the form of theatre in which the performance is unplanned or unscripted: created spontaneously and collaboratively by the performers. The skills and processes of improvisation can also used outside the context of performing arts. This practice, known as applied improvisation, is used in classrooms as an educational tool and in businesses as a way to develop communication skills, creative problem solving, and supportive team-work abilities that are used by improvisational, ensemble players.[1] In a psychiatric context, it has been used in psychotherapy as a tool to gain insight into a person's thoughts, feelings, and relationships.

The basics of skillful improv are all about building relationships. The basis of any healthy relationship is effective communication. The foundation of improv is grounded on the basic rules of communication. We will make a compelling case that improv has a much broader usage and its techniques can be widely applied in the practice of medicine to improve communication and build stronger therapeutic relationships.

Improv skills can be used in the following relationships: • MD / patient • Medical learners / teacher-mentor-coach • MD / MD peers • MD / professional colleagues • MD / administration-leadership

Expect an informative, fast paced, hands-on and fun session that will allow you to experience improv in a safe, non-judgemental medical context. Skills learnt can be applied directly in your next clinical encounter or medical relationship.

Presenters: Dr Ted Jablonski, Nicole Zylstra Proposal : 60 minute WORKSHOP

ABSTRACT. I'm presenting a recent innovation, the Art is Patient seminars, which focus on aesthetic exercises to help learners access and share non-verbal, embodied, relational responses to art. Based in an art museum context, the seminars provide successive experiences of approaching, witnessing and engaging with visual art as an analogue to developing trauma-informed relationships. This course has been piloted to medical/health professions students and faculty through the Health Arts Humanities program at the University of Toronto.

Interdisciplinary professional education has recently been mobilizing to address the importance of trauma-sensitive care, in part through the adoption of arts and humanities curricula. Many recent arts-based courses propose narrative exercises geared to improving empathy, self-reflection and communication. Trauma, however, is often unwordable, fragmentary and encoded physically, not immediately amenable to storying methods. The Art is Patient seminars propose an experience where form rather than content, and witnessing rather than interpretation, are foregrounded to expand learners' trauma-informed awareness.

ABSTRACT. Background: Practitioners’ perspectives of what constitutes a ‘good’ physiotherapist have not been explicitly examined despite their potential implications for the future practice of physiotherapy. Physiotherapists’ perceptions may inform professional priorities including education curricula, professional practices, competency profiles, and patient interactions. Purpose: The purpose of this research was to examine physiotherapists’ perceptions of what constitutes a ‘good’ physiotherapist in the context of musculoskeletal practice (MSK). Methods: A hermeneutic phenomenological investigation was undertaken. Semi-structured interviews were conducted with twelve experienced MSK physiotherapists to examine their perceptions of what constitutes a ‘good’ physiotherapist. Findings: Seven themes were identified. Two broad themes highlighted an ethical orientation to care and the integration of person-centered care with evidence-based practice. These were underpinned by more specific themes of ‘being’ competent, responsive, reflective, communicative, and ‘using’ reasoning. Conclusions: This study contributes knowledge about an ethic of care as an important dimension of a ‘good’ physiotherapist. It highlights practices that may underpin an ethic of care including the pivotal role of person-centered and relational dimensions of practice. The findings call into question the profession’s emphasis on a technical rationalist approach to education and clinical practice and invites conversation about future directions that balance technical competence with relational dimensions of practice.