- Describe the client with whom you have been engaging âincluding your initial impressions and challenges. Were there any value conflicts between you the agency and the client?
- Provide a detailed assessment (biopsychosocial-spiritual, including strengths) of the client system beginning with how the client came to agency, ie: the referral source, what is the presenting problem, issue that needs to be addressed. How do you partialize the problem(s) presented? Are other systems interacting with the client with whom you must connect? Discuss the approach you used grounding this discussion in the literature.
- Conscious use of self is a critical aspect of professional social work skills. Referring to the professional literature, discuss your growing conscious use of self and if/how supervision has facilitated deeper self-awareness and knowledge in your development of this skill.Add some content from a process recording that demonstrates your growing 9ability to consciously use yourself during the engagement/assessment process and critique this . . . what have you learned about yourself?
- What goals did you and the client identify? Are these consistent with the clientâs needs and the agencyâs services? Were there referrals and linkages that had to be made to accommodate the clientâs needs?
Was the client part of the process of identifying and setting goals? If not, why and with whom did you did you develop goals?
How might the outcome of the work be impacted by client participation or lack of participation in the goal setting stage? Were there any ethical dilemmas for you in the goal setting process?
Please integrate the professional literature into your response. - What contracting arrangements did you and the client decide upon? Did you have to re-contract with the client during the assessment and the beginning of the work stage? What does the literature say about the importance of contracting?6. Provide a conclusion that ties the paper together do not simply reiterate what you did, but be thoughtful in your concluding statement
Sample Solution
hocking to Europeans. Despite some of the most violent beginnings, New Zealand went on to produce some of the best integrated indigenous-settler communities, partially engendered by the emerging hybrid religion. Maori converts didnât see their conversion to Christianity as an abandonment of their old beliefs, as the missionaries had expected, rather took the aspects that they liked and incorporated them into their existing belief system. One particularly poignant carving depicts a Maori version of the Virgin Mary and child. Mary stands upon a severed head and has a full-face moku, which in Maori culture is an adornment reserved for the first-born daughter of noble families, indicating her as sacred, taboo to the rest of the community. This may have been the artistâs way of showing Mary as worthy of respect, whilst the baby Jesus has distinctly Maori physical features, a powerful representation of Maori culture embracing Christianity on familiar terms. One important relic survived the missionaries â Taaroa (later named Aâa following the arrival of John Williams and the missionaries â arguably the greatest of all Polynesian works, made hundreds of years ago on the island of Rurutu, in the shape of Aâa, the creator god of the rivers. It was revered by locals, but they gave it away to the missionaries in the 19th century as proof that they had converted their beliefs, before being taken to London by the London Missionary Society and displayed as a trophy. Aâa was recognised as a masterpiece of global art. Picasso kept a cast of it in his studio, as did the sculptor Henry Moore. Aâa is still very important in Polynesian culture, and its absence is strongly felt. Its design is replicated in some body tattoos in homage to traditional worship. Aâa is extremely important in the study of Pacific colonialism as it provides an example of Pacific culture having an impact on âcivilisedâ nations, its artists distinguishing themselves against their âEnlightenedâ European counterparts. Eventually however, even the art was influenced by colonists. According to the influential Polynesian artist Angela Tiatia, the projection of European myths still haunts Polynesia, particularly that of the Polynesian woman. Women play a key part of the notion of tropical paradise, a myth stemming from the earliest sailorsâ encounters with locals, that one could visit paradise and be presented with beautiful women. Only in the 21st century is the Pacific beginning to push back against this myth through art and poetry, and in places legislation. (2) From the time of Cookâs first voyages, Polynesia has been reduced to Western ideals: an escape from social and ethical conventions. Although we are now well into the 21st century, the Westâs fantasy of paradise as envisioned by 17th and 18th century artists, has never been stronger. The Dreamtime, in contrast to other Pacific religions, is a spiritual belief system based on art>
hocking to Europeans. Despite some of the most violent beginnings, New Zealand went on to produce some of the best integrated indigenous-settler communities, partially engendered by the emerging hybrid religion. Maori converts didnât see their conversion to Christianity as an abandonment of their old beliefs, as the missionaries had expected, rather took the aspects that they liked and incorporated them into their existing belief system. One particularly poignant carving depicts a Maori version of the Virgin Mary and child. Mary stands upon a severed head and has a full-face moku, which in Maori culture is an adornment reserved for the first-born daughter of noble families, indicating her as sacred, taboo to the rest of the community. This may have been the artistâs way of showing Mary as worthy of respect, whilst the baby Jesus has distinctly Maori physical features, a powerful representation of Maori culture embracing Christianity on familiar terms. One important relic survived the missionaries â Taaroa (later named Aâa following the arrival of John Williams and the missionaries â arguably the greatest of all Polynesian works, made hundreds of years ago on the island of Rurutu, in the shape of Aâa, the creator god of the rivers. It was revered by locals, but they gave it away to the missionaries in the 19th century as proof that they had converted their beliefs, before being taken to London by the London Missionary Society and displayed as a trophy. Aâa was recognised as a masterpiece of global art. Picasso kept a cast of it in his studio, as did the sculptor Henry Moore. Aâa is still very important in Polynesian culture, and its absence is strongly felt. Its design is replicated in some body tattoos in homage to traditional worship. Aâa is extremely important in the study of Pacific colonialism as it provides an example of Pacific culture having an impact on âcivilisedâ nations, its artists distinguishing themselves against their âEnlightenedâ European counterparts. Eventually however, even the art was influenced by colonists. According to the influential Polynesian artist Angela Tiatia, the projection of European myths still haunts Polynesia, particularly that of the Polynesian woman. Women play a key part of the notion of tropical paradise, a myth stemming from the earliest sailorsâ encounters with locals, that one could visit paradise and be presented with beautiful women. Only in the 21st century is the Pacific beginning to push back against this myth through art and poetry, and in places legislation. (2) From the time of Cookâs first voyages, Polynesia has been reduced to Western ideals: an escape from social and ethical conventions. Although we are now well into the 21st century, the Westâs fantasy of paradise as envisioned by 17th and 18th century artists, has never been stronger. The Dreamtime, in contrast to other Pacific religions, is a spiritual belief system based on art>
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