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This study aims to explore the experiences of peers working in a range of roles within a single NHS mental health service. This study also aims to provide evidence of the impact of existing support, organisational structure and culture around peer working and provide recommendations for a Good Practice Guide for Peer Working. Peer roles require lived experience of mental health conditions and/or services. While the impact on them of using their own lived experience is not fully understood, anecdotal evidence suggests that peer workers may experience a greater emotional impact than other mental health workers. Burnout and retention are particular concerns.

This was a two-stage study using focus groups and reflexive thematic analysis in Stage 1. The key themes formed the basis of the Stage 2 workshop, which provided recommendations for a Good Practice Guide. The study team consisted of peer researchers with lived experience, supported by a Lived Experience Advisory Panel.

There is a perceived lack of support and an increased peer burden for peer workers. Recommendations included relevant ongoing training and development; support and supervision; and organisational cultural change.

Working within a peer-led co-production framework, this study contributes to the development of the evidence base for peer emotional labour. Based on the findings, a Good Practice Guide for Peer Working is being developed to promote good practice for the development of future peer worker roles.

The purpose of this paper is to explore the concept of co-creativity in relation to artistic practice with people with a dementia. The aim of the discussion is to outline how co-creativity offers fresh approaches for engaging artists and people with dementia, can contribute to less restrictive understandings of “creativity” and above all, expand the understanding of people with a dementia as creative, relational and agential.

In order to examine current conceptions of co-creativity and to inform the artistic practice, relevant literature was explored and eight expert interviews were conducted. The interviews were thematically analysed and are included here.

This paper consequently demonstrates that improvisation, structure, leadership and equality are central elements of co-creative processes and outlines how co-creativity can offer fresh insights into the way in which the arts can engage people with a dementia, the relationship between creativity and dementia and the transformative potential of the co-creative arts for those living with a dementia.

The paper discusses some of the difficulties that are inherent a co-creative approach, including power relations and the limitations of inclusivity. Due to ethical restrictions, the paper is limited by not including the perspectives of people living with a dementia.

This paper paves the way for future research into co-creative processes in a variety of different contexts.

A more nuanced understanding of co-creativity with people with dementia could challenge the dominant biomedical and social paradigms that associate “dementia” with irretrievable loss and decline by creating opportunities for creative agency.

This exploration of co-creativity with people with dementia is the first of its kind and contributes to the wider understanding of co-creativity and co-creative practice.

The purpose of this work is to honor the wisdoms of Anishinaabe Elders, community and culture by interweaving these teachings with my own (first author) Anishinaabe experiences and a research project. Ceremonies are an important health practice for Anishinaabe people. This project aimed to gain a clearer conceptualization of the protective role of Anishinaabe puberty ceremonies on health in adolescence and across the lifespan.

Spiritual offerings guided this project at every stage including inviting Elders and community members into shared spaces of storytelling and teaching elicitation and grounding me as I carefully adopted the use of a western tool (research) in sacred community spaces. Elders were invited to share their experiences and perspectives. Three community members engaged with the interview transcripts on their own before coming together to discuss themes, patterns and insights that arose for them. This group coding discussion constructed the structural foundation of the findings.

An Anishinaabe perspective on youth development emerged. Key aspects of this model included a foundation of ceremonial experiences that spiritually prepares a child for adulthood and impending life’s challenges. As one transitions into adulthood, they accept the responsibilities of being caretakers of their families and communities and gain new tools to contribute to Anishinaabe society. Ideally, this society prioritizes Anishinaabe spirituality, language and way of life.

Frameworks of health, grounded in unique community wisdoms and worldviews, are imperative to repair spiritual and community relationships damaged in a history of colonialism. An Anishinaabe perspective on youth development may shed light on shared Indigenous experiences of cultural restoration and continuity.