Critical Creativity: Melding, Exploding, Blending
Critical Creativity: Melding, Exploding, Blending
Critical Creativity: Melding, Exploding, Blending
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.
Critical creativity 249
are the exception in everyday life and that a more realistic picture is that of a diffuse,
fragile, continuously revised and only momentarily successful communication
(1972, p. 100), where people feel their way from one occasional consensus to the
next. When agreement about change does occur it cannot be verified by rational
processes of verification, but instead, agreement can only be reached by the replace-
ment of barriers with motivating reasons for change. However, no change occurs in
isolation and thus constraining factors (such as organisational hierarchies, power
Table 2. The theories and sub-theories of critical social science (adapted from Fay, 1987)
Theory Sub-theory
1. False consciousness 1. Demonstrates the ways in which the self-understandings of a group
of people are false or incoherent or both.
2. Explains how the members of this group came to have these self-
misunderstandings and how they are maintained.
3. Contrasts them with an alternative self-understanding, showing
how this understanding is superior.
2. Crisis 4. Spells out what a crisis is.
5. Indicates why the particular crisis exists.
6. Provides a historical account of the development of this crisis in
terms of structures and processes.
3. Education 7. Offers an account of the conditions necessary and sufficient for
enlightenment to happen.
8. Shows how these conditions are satisfied in a given context.
4. Transformative
action
9. Isolates those aspects of a society that must be altered if the
dissatisfaction of a groups members is to be lessened.
10. Details a plan of action indicating how people who are to carry out
social transformation are to do this.
5. The body 11. Develops an explicit account of the nature and role of inherited
dispositions and the ways in which knowledge is embodied.
12. Points out how embodied knowledge is created without reaching
consciousness.
13. Spells out the limits which inherited dispositions and embodied
knowledge place on transformative action.
6. Tradition 14. Identifies which parts of a particular tradition are, at any given time,
changeable.
15. Identifies which parts of a particular tradition are, at any given time,
not changeable or worthy of change.
7. Power
2
16. Develops an account of the conditions and use of power in a
particular situation.
17. Explicitly recognises the limits and effectiveness of critical theory in
certain situations of power.
8. Reflexivity 18. Explains ones own historical tradition and makes explicit ones
own biases and prejudices in particular contexts.
19. Does not pretend that any one change is able to capture the essence
of emancipation.
20. Offers an account of the ways in which any change is contextual and
incomplete.
250 B. McCormack and A. Titchen
relationships with managers or national policies) which are often outside the power
of the individual to change, act as limitations to emancipation.
The limits of consensus in the making of rational judgements when deciding on the
choice of methods to effect change in a given context are largely reified in reports of
emancipatory change (Gore, 1992; Orner, 1992). Rather than focus on consensus,
Fay argues for the centrality of reflection in emancipatory processes. He suggests that
reflection is important not as a means of learning about theory but as a means of
learning about oneself in terms of the theory. Fays theory of the body is central to
being reflective, i.e. understanding how we inherit ways of being and the limits
imposed by these inherited dispositions on our freedom. Dunne (1993) argues that
our life-world is not freely available for thematic reflection and van Manen (2002)
argues that to make such an assumption denies the existence of and access to our pre-
consciousness. Critiques of critical social science argue that little consideration is
given to problematising mechanisms of empowerment such as critical reflection
(Manias & Street, 2000). This critique is evident in the PD literature, where reflective
learning strategies are actively encouraged but few critiques of the effectiveness of the
models used (such as action learning) are evident.
To overcome many of these limitations of critical social science, Fay argues that all
eight theories (Table 2) need to be kept in balance in order to achieve emancipation
because our world is marked by continual tension in human life between illumination
and activity on the one hand, and concealment and dependency on the other
(p. 215). He suggests that it is a mistake to focus on one side of the tension at the
exclusion of the other and that by integrating the eight theories into the critical social
science project, a balance can be achieved:
A proper critical social theory is one which possesses a stereoscopic vision which recog-
nizes every situation as one of both gain and loss, of change and stasis, of possibility and
limit. The amended scheme [eight theories] is meant to incorporate this dual vision.
(p. 215)
However, the methodological complexity in operationalising eight theories and 20
sub-theories in any one project is not addressed and thus, whilst Fay clearly articu-
lates a comprehensive theory of critical social science, little consideration of method-
ological approaches is proffered. Given the tensions that exist between ad hoc and
systematic development activities, the complexity of PD roles and the lack of prepa-
ration for practice developers (Garbett & McCormack, 2001), then the expectation
of holding these theories and sub-theories in balance would appear to be unrealistic.
Thus far, despite the claims for critical social science as the underpinning framework
for emancipatory PD (e.g. Manley & McCormack, 2004), there is no evidence, in the
literature, of Fays theoretical framework being used explicitly to frame PD projects.
This critique of critical social science led us to question its sufficiency as a compre-
hensive theory for PD that adequately captures and informs the creativity required in
operationalising PD methodologies. Increasingly, the importance of creativity in
development activities is explicitly recognised (Angus, 2001; Philipp, 2002; Titchen,
2004). The use of creative imagination and expression has recently been explored in
Critical creativity 251
health and social care PD, education, evaluation and research (e.g. Payne, 1993;
Cotter et al., 2001; Spouse, 2000; Titchen & Higgs, 2001; Seizing the Fire, 2002;
Simons & McCormack, 2002; Coats et al., 2004; Manley et al., 2004).
The development of a new paradigmatic synthesiscritical creativity
Three phases of development were undertaken.
3
In Phase 1 we undertook artwork
(collage and painting) expressing how we experienced PD. Through these processes
we articulated our embodied knowing as practice developers exploring questions of
What is it like being a practice developer?, What does it feel like to be a practice
developer?, How do we articulate ways of knowing in our emancipatory activities?,
What models and frameworks help or hinder our intentions as practice developers?
The use of art enabled us to explore pre-conscious understandings and the placing of
these in the context of worldviews that guide our practice (such as critical social
theory, interpretive science). We used collage to map our individual and collective
journeys as researchers in the world of PD and to articulate key PD concepts such as
culture, context, evidence and reflection. In this work we tested our presuppositions
and espoused values in order to shed light on what Dunne (1993) describes as the
shadow side of emancipatory action (i.e. presuppositions). However, recognising
Fays (1987) challenge of embodiment and the need to understand how we inherit
roles and ways of being through the lived body, we recognised the need to go beyond
the interpretation of our artistic expression through words. This work led to Phase 2
of our methodological developmentembodiment of the attributes and processes.
We did this through the use of movement and dance in order to feel them. Having
danced with these attributes we interpreted our movements through paintings and,
through critical conversation, facilitated each other to articulate the key concepts
embedded in our embodied artwork. The critical conversations were tape-recorded.
Figures 13 present embodied artworks developed by Brendan, Angie and Maeve
with the key words/phrases highlighted that are representative of the concepts embed-
ded in the paintings.
Figure 1. Maeves painting Figure 2. Brendans painting Figure 3. Angies painting
Finally, in Phase 3, we listened to the tape-recordings of our critical conversations
and identified common words and phrases that articulated the key concepts embed-
ded in each of our embodied artworks. We generated lists of keywords and dialogued
meanings until metaphors representative of our collective meanings emerged.
Metaphors that were common across each of our paintings were:
spiralling through turbulence;
circles of connections;
creative effectiveness;
movement in the stillness;
embodied knowing;
energising forces;
openness to all ways of being;
flowing with turbulence.
252 B. McCormack and A. Titchen
We discussed each of these metaphors and derived a shared understanding of the
meanings embedded in each metaphor (Table 3). This dialogue led us to consider the
conceptual basis of critical creativity as a paradigm that synthesises other ways of
knowing within the critical paradigm.
Critical creativity as a paradigmatic synthesis for emancipatory practice
development and action research
The limitations of the interpretive and critical paradigms for providing philosophical,
theoretical and methodological justifications for emancipatory PD and action
research have been set out. Our work requires a new set of assumptions to underpin
our discovery that the use of creative imagination and expression enables people to go
beyond the limits that critique critical thinking and that being systematic can place on
potential visions and on the actions to achieve them. Titchen (in preparation) lays out
the current assumptions of creative inquiry that is undertaken through body senses,
emotions, spirituality, creative imagination and artistic expression influenced, for
example, by Gibran (1926), Merleau-Ponty (1962), Jung (1979), Eisner (1985),
Arrien (1993), Allen (1995), Osho International Foundation (1995), Goleman
Figure 1. Maeves painting
Critical creativity 253
(1996), ODonohue (1997), McNiff (1998), Zohar and Marshall (2000), Seizing the
Fire (2002) and Simons and McCormack (2002). In that analysis, creative inquiry,
within the interpretive paradigm, is seen as located in the philosophical stance of
idealism and/or hermeneutics/existentialism/aesthetics and/or a range of spiritual
traditions and artistic ways of knowing. These philosophical assumptions shape and
colour emancipatory practice development and action research by influencing strate-
gies for change, the nature of action, the simultaneous creation of new understand-
ings and insights and how they are then used to inform subsequent action. So, what
is missing from this melding of idealism, existentialism, aesthetics, spirituality and
realism in existing notions of creative inquiry is the explicit notion of human flourish-
ing, both inner and outer, not only as an end to the project, but also as the means and
all that this entails. Whilst we know that a few researchers, such as Reason (1993) and
Denzin and Lincoln (2000), are working with, and promoting, the potential of such
human flourishing, we are unaware of any thorough paradigmatic, theoretical and
methodological exploration into achieving this potential in development and
research.
Whilst there is recognition within the interpretive and critical paradigms of the
use of creative imagination and expression as means of gathering, analysing and
Figure 2. Brendans painting
254 B. McCormack and A. Titchen
interpreting data and presenting findings, their intentional use for the above
purposes has not been justified philosophically, theoretically or methodologically.
Whilst critical creativity thus draws from the assumptions of the interpretive and
critical paradigms, we have identified assumptions that seem to be unique.
Philosophical assumptions
There are four philosophical assumptions that make critical creativity distinctive:
There is a creative connection and blending of assumptions, if assumptions across different
development and research paradigms are combined within a project. In order to answer
development, research and evaluation questions, most projects require the blending
of assumptions from different paradigms. The use of the creative arts enables a
pragmatic approach to the blending of differing worldviews with an attention to
embodied meanings, i.e. how it feels and is experienced, rather than getting caught
up in the detail of words the way that cognitive approaches often do (our phases of
development described earlier is just such an example!). A cognitive approach focuses
on acquiring a deep understanding of the assumptions of different paradigms in order
Figure 3. Angies painting
Critical creativity 255
to justify the choice and blending of assumptions, philosophically and methodologi-
cally, because, for purposes of rigour, there must be coherence or epistemological and
ontological authenticity within a project or study. Whilst this cognitive understanding
is a vital part of professional artistry in development and research, it is acquired
through an often-prolonged scholarly and experiential engagement with epistemolog-
ical and ontological authenticity. However, this may not be feasible for busy health-
care practitioners and people who use health services who, without development or
research backgrounds, are involved in the design and carrying out of PD evaluation
Table 3. Embodied artwork keywords
Metaphor Metaphorical Meaning
Spiralling
through
turbulence
Practice development work creates turbulence in a given context through which
the practice developer needs to journey in a way that is authentic and consistent
with the shared values and beliefs of co-participants and that results in human
flourishing.
Circles of
connection
The methodology of practice development rejects linear models of personal and
professional growth. Through the creation of circles of connection, co-
construction of a shared reality is achieved which leads into a spiralling awareness
and understanding that has no beginning and no end. Such meanings are evident
in many ancient traditions such as the Celtic knot.
Creative
effectiveness
Creative effectiveness recognises the creativity embedded in all professional
practice and that to enable transformation, creative approaches to the facilitation
of increased understanding of effectiveness is required. Through blending,
improvisation, synchronicity, attunement and balance of professional artistry,
particularised creative approaches are made possible.
Movement in
the stillness
Not all PD work requires overt activity in order for movement to occur. The
stillness of reflection, contemplation and emptying the mind creates a movement
that enables future meaningful, ethical action and understanding to occur.
Embodied
knowing
Effective facilitation in practice development requires the embodiment of the
practice culture, i.e. a connection with the environment through an
internalisation of its culture(s) or the culture is enacted and seen through a
persons body/being in the world. Such knowing is usually difficult to put into
words and a facilitator helps others to recognise and articulate their own and
others embodied knowing.
Energising
forces
Transformation occurs through moments of crisis that trigger a need for change.
This crisis creates an energy for growth and flourishing or for the synthesis of
opposing or distinct forces, ideas, knowledges or understandings to create
something new. Creative expression at moments of crisis generates energy from
a new ability to express feelings, experiences, spirituality, ethical concerns,
embodied and tacit ways of knowing.
Openness to all
ways of being
Facilitators of practice development need to be open to and appreciative of
different worldviews.
Flowing with
turbulence
Whilst it is recognised that high challenge with high support is a key mechanism
for perspective transformation and emancipatory action, the conscious use of
turbulence is key to empathising with and facilitating particular developmental
journeys. Working with turbulence requires the use of emotional and spiritual
intelligences.
256 B. McCormack and A. Titchen
or research. We have found that the use of creative arts media can help such people
to grasp the blended assumptions of critical creativity and to live them together in
their work (see for example Table 1, Exemplar 3).
The use of creative expression to create synergy between cognitive and artistic approaches to
critique. This synergy is symbolised in the development processes we used to develop
the theory of critical creativity. The approach utilised a movement between creative
expression, critical dialogue and contestation in order to develop and understand key
concepts. Each stage combined cognitive with artistic critique, creating a synergy
through a reiterative, reciprocal dialogue between words and art forms.
Transformational development and research is person centred. Whilst the moral intent of
the critical paradigm (i.e. the achievement of social justice, democracy and equity) is
accepted in critical creativity, the moral intent of attaining human flourishing for all
involved requires further philosophical underpinning. We have found through expe-
rience that being person centred is key to human flourishing as ends and means in
development and research (e.g. Binnie & Titchen, 1999; McCormack, 2001; McCor-
mack & Titchen, 2001; Manley et al., 2004). Being person centred is linked to beliefs
and values about the intrinsic moral good of personhood and to a universal moral
principle that extends beyond politics, religion, wealth, privilege, cognition or ratio-
nality. McCormack (2004) described four dimensions of person-centred nursing
Being in relation; Being in a social world; Being in Place and Being with self. These
four dimensions of being in a therapeutic relationship locate person-centredness
within the philosophical framework of humanistic existentialism with its concern
about the value of being human, of existence and of the quality of that existence.
Three main characteristics, therefore, in this respect shape critical creativity: (1) the
uniqueness of the human individual; (2) a concern with the meaning and purpose of
human life; and (3) the individuals freedom to choose.
Emancipatory PD and research facilitators in this tradition are, therefore,
concerned with facilitating human potential and growth of the whole person. This
means finding out what peoples whole being needs are, from their own perspectives.
By seeking an understanding of peoples perspectives about their own experiences,
facilitators can help them to focus on their unique experiential journeys of learning,
critique, creativity and transformation. Within critical creativity, therefore, there is a
blending of the moral intent of the critical paradigm, with its focus on improvement
and transformation within the social world, with the moral intent of attaining
improvement and transformation of the individual life-worlds of persons (see for
example Table 1, Exemplar 4).
The three philosophical assumptions above are blended with spiritual intelligence. If emanci-
patory development and research is ultimately concerned with human flourishing in
its myriads of ways, then it is likely to involve the human spirit. Whilst recognising
Critical creativity 257
that human flourishing may be understood and conceptualised in a variety of ways,
for us, the work of Lincoln and Denzin (2000) proved to be a useful starting point in
understanding human flourishing and is consistent with our current understandings:
We may be entering an age of greater spirituality within research efforts. The emphasis
on inquiry that reflects ecological values, on inquiry that respects communal forms of
living that are not Western, on inquiry involving intense reflexivity regarding how our
inquiries are shaped by our own historical and gendered locations, and on inquiry into
human flourishing as Heron and Reason (1997) call it, may yet reintegrate the sacred
with the secular in ways that promote freedom and self-determination We may be in a
period of exploring the ways in which we can both be and promote others being, as
whole human beings. (Lincoln & Denzin, 2000, p. 185)
Critical creativity is underpinned by an honouring of all forms of spirituality and
recognition that particular spiritual beliefs may imbue and shape knowing, doing,
being and becoming within a project. It is likely that people will hold a variety of spir-
itual beliefs, but that commonalities can be found. Within critical creativity, the two
commonalities of significance are spiritual intelligence and helping relationships
imbued with moderated love.
Spiritual intelligence refers to what human beings do with their deepest-held
spiritual beliefs and values, whatever the doctrine, wisdom or tradition. According to
Zohar and Marshall (2000), and Titchen and Higgs (2001), spiritual intelligence
enables people to address and solve problems of meaning and value and place their
actions, lives and pathways in wider, richer meaning-giving contexts. It gives human
beings their moral sense and allows them to discriminate, to aspire, to dream and to
uplift and energise themselves. Spiritual intelligence lets people work with the bound-
aries and shape and transform the situation. They call upon it when they are creative
and in moving into the unknown. They use their deep, intuitive sense of meaning and
value to guide them when they are at the boundary of order and chaos, that is, at the
very edge of their comfort zones. The idea of a moderated love within professional
relationships was first described by Campbell (1984). Since then, the importance of
such love in person-centred nursing (e.g. Bradshaw, 1996; Ersser, 1997; Binnie &
Titchen, 1999) and person-centred facilitation (e.g. Titchen, 2000a; Henderson,
2004) has been expressed, particularly through the process of graceful care. In our
experience, enabling the human flourishing of others requires a generosity of heart,
mind, body and spirit.
Theoretical assumptions
Four theoretical assumptions, located within the previous philosophical assumptions,
underpin critical creativity.
Conscious to unconscious blending of assumptions. Critique of assumptions begins
consciously through individual and group processes in order to link new ideas with
what people already know and also to blend different worldviews (epistemological
concerns). This work begins as a conscious blending process, but as people begin to
258 B. McCormack and A. Titchen
genuinely live the assumptions in their practices, there may be a move from conscious
to unconscious blending. In other words, the blending becomes embodied and part
of human being in the world (ontological concern). This theoretical assumption
builds on research into how nurses transform knowledge within their practice (e.g.
Benner, 1984; MacLeod, 1994; Titchen, 2000b; McCormack, 2002).
Connecting worldviews. As demonstrated above, in the context of different spiritual
traditions, the connecting of different worldviews can occur cognitively if commonal-
ities are found and distinctions honoured and acknowledged. Although this way of
connecting worldviews can occur in any paradigm, within critical creativity it can also
happen by seeking the archetypal wisdom between traditions or, in Jungian terms,
the collective unconscious.
Human flourishing is an intentional means as well as the ultimate end. This principle
makes explicit the integrated process and outcome intent of critical creativity. Human
flourishing is both a means and an end of transformative PD and research.
Human becoming. This assumption sees human becoming as the development of
mind, heart, body and spirit through approaches to learning and facilitation that draw
upon a variety of perspectives and traditions.
Methodological assumptions
Critical creativity assumes a critically creative approach to reflective action as the
key methodological approach. Professional artistry provides the synergy and power
to blend the philosophical and theoretical assumptions and convert them into
action in transformative development and research. Professional artistry is a blend-
ing of personal qualities (e.g. bodily, emotional and spiritual intelligences, passion,
courage, connoisseurship), practice skills (e.g. critical appreciation, metacognitive
skills), creative imagination processes (e.g. emptying the mind, going with the
unexpected or bizarre without knowing where it is going), creative and practice
wisdom with authentic use of self (Titchen & Higgs, 2001). This blend is used to
mediate science in professional practice, i.e. particularising propositional knowledge
to make it useful to the particular situation and people. Blending and particularisa-
tion seem to involve artistic processes, such as appreciation, attunement, harmoni-
sation, synthesis, being able to see the whole and the parts of some aspect of
professional practice or experience and moving between them and getting the
balance and form right.
Whilst professional artistry itself is not unique to critical creativity, its focus on a
critically, creative approach to reflective action is. This approach is concerned with:
Learning through intellectual, aesthetic and expressive creativity.
Critical creativity 259
Releasing energy for creative practice through the use of creative arts media (Coats
et al., 2004) and intellectually creative thinking and problem solving.
Practising creatively as a practitioner, facilitator/educator, developer or researcher.
Methods
There are no differences in the actual methods for data gathering, analysis, interpre-
tation and presentation used within transformational development and research with
those utilised in the interpretive and critical paradigms. It is, of course, their intent
and the philosophical and theoretical assumptions above that differ. However,
research methods set within a critically creative methodological framework exist in a
dynamic state and in a constant state of movement. Roths (1990) 5 rhythms (flow-
ing, staccato, chaotic, lyrical and still) is a useful framework for understanding the
dynamic movement that takes place in methods in order to achieve the intent of trans-
formation.
Having articulated the assumptions underpinning critical creativity, we move now
to present a theoretical framework for transformational PD and action research
located in the critical paradigm.
Creativitya framework for transformative action
In our journey so far, we have critiqued critical social science in the context of trans-
formational PD and action research through philosophical, theoretical and method-
ological analysis. Fundamentally, we argue that whilst Fays eight theories of critical
social science provide an appropriate underpinning for transformational action, they
fail to capture the creativity that underpins much PD and action research work. We
therefore propose a significant elaboration and alteration of sub-theory 10 by focusing
on ways in which practice can be transformed through a critically creative engage-
ment with practice. We name this addition, creativity, and set it out in the context
of holistic engagement that is at the heart of critical social science. In the context of
Fays model, creativity blends and melds the 20 sub-theories and we define it as:
the blending and weaving of art forms and reflexivity (critical consciousness) located in the
critical paradigm. Blending and weaving occur through professional artistry in order to
achieve the ultimate outcome of human flourishing. Thus this theory has critical, moral
and sacred dimensions.
Figure 4 presents the theoretical framework for human flourishing within a critical
creativity worldview.
Figure 4. A theoretical framework for human flourishing located in the critical creativity dimension
The imagery (i.e. the spirals, movement in stillness at the centre, energising forces,
flowing with turbulence, etc.) represented in the framework was derived from the co-
construction through the creation of a sculpture with fellow inquirers and critical
dialogue. The co-construction followed the integration of creative and cognitive
processes as described earlier. Reflecting on the processes of construction further
enabled the philosophical, theoretical and methodological principles of critical
260 B. McCormack and A. Titchen
creativity to be articulated, affirmed and confirmed through embodiment, debate,
discussion and contestation.
The praxis spiral is the central spiral of the framework. It represents the journey
from wherever we are now towards human flourishing as the ends and means of trans-
formational development and action research. The journey is facilitated through the
processes of blending, connecting, energising, reflecting, practising, learning and
becoming.
The concept of praxis or practice wisdom/thoughtful doing with a moral intent has
been around for millennia (Aristotle created the term). Known as the practical
discourse in philosophy, it has been influenced, over time, by the dominant philo-
sophical thinking of the age. This means that different theories, values and beliefs
have influenced deliberative human action. Relevant here are the notions of emanci-
patory praxis and hermeneutic praxis. (The terms emancipatory and hermeneutic
refer to the intent and philosophical roots of particular kinds of praxis, that is, eman-
cipation from obstacles and understanding/transformation, respectively, as discussed
above.) Emancipatory praxis, for us, emerges from the philosophical underpinnings
of critical social science as critiqued above. Thus praxis and the praxiological
knowledge that accrues from it is about seeking to overcome the external and internal
barriers to achieving, in our case, human flourishing for all, through the delivery and
receipt of person-centred, evidence-based care. Hermeneutic praxis, on the other
Outcome:
Human
flourishing
8
2
1
4
5
6
7
Critical
practice
theories
3
Praxis spiral for
human flourishing
enabled by
professional
artistry
CRITICAL
CREATIVITY
Figure 4. A theoretical framework for human flourishing located in the critical creativity
dimension
Critical creativity 261
hand, is concerned with reflexivity and transformation of understanding and thus
transformation of self, teams, organisations and communities. It emerges from the
philosophical tradition of hermeneutics.
As we are concerned with overcoming barriers and transformation, the praxis spiral
in our framework is influenced by a blending of emancipatory and hermeneutic
praxis, undertaken by transformational practice developers and action researchers.
We have highlighted in the figure the recurring processes that surfaced through our
use of creative arts media within the PD colloquium and previous scholarly inquiries.
Both the emancipatory and hermeneutic traditions use the spiral as imagery: the
recurring spirals of planning, action, observation, reflection, in relation to emanci-
patory praxis, and the spiral of reflexivity and increasing understanding, in relation to
hermeneutic praxis. In our cooperative inquiry, the spiral also keeps emerging as a
significant symbol of the practice ontology of transformational practice developers
and researchers (see Figures 13). It is for these reasons that we have chosen to repre-
sent praxis as a spiral. And because we engage in praxis when we are working with the
nine critical practice theories, we have also represented those theories as spirals. We
have placed praxis centrally because it is through this spiral that we tap our paradig-
matic foundation, that is, critical creativity, shown in Figure 4 as dynamic energy or
Catherine Wheel. This spiral then connects with the theory spirals at the centre of the
figure when we engage in praxis. Thus critical creativity flows throughout our frame-
work.
Professional artistry enabling the praxis spiral
Professional artistry is the meaningful expression of a uniquely individual view within
a shared tradition and involves the blending of practitioner qualities, practice skills
and creative imagination processes (Higgs et al., 2001). The blending of these quali-
ties, skills and processes is referred to as practice wisdom. But exactly what practice
wisdom is and how theory and practice become one are rarely articulated. This is
where we believe that the philosophical tradition of pragmatism has something to
offer to our blend of philosophical perspectives. Building on the ideas of pragmatist
and educationist John Dewey (1933), Donald Schn (1983), based on a scholarly
approach to his own and others practice, proposed that professional practice requires
professional artistry to mediate science within, and use generalisable, propositional
knowledge for, the particularity of professional practice. Within healthcare, Schns
ideas were elaborated and refined by Titchen and Higgs (2001) by combining previ-
ous hermeneutical nursing research (e.g. Benner, 1984; MacLeod, 1994; Titchen,
2000b) with their own scholarship (e.g. Higgs et al., 2001). They proposed that
professional artistry, as described above, encompasses practice wisdom. According to
Titchen and Higgs, the qualities, skills and processes of professional artistry and their
blending are built up through extensive introspective and critical reflection upon, and
review of, practice. This view supports our notion of reflecting, practising, learning
and becoming within the praxis spiral. Through a blend of cognitive and artistic
critique, transformational action researchers are able to turn the eight critical practice
262 B. McCormack and A. Titchen
theory spirals (Figure 4) into informed, transformed and transforming action with the
moral intent of social justice, equity and human flourishing for all stakeholders.
Professional artistry enables the continual reconstruction of theory in and on practice.
This is an area ripe for research to test and elaborate.
Resting place
In this article we have articulated an emerging paradigmatic synthesis of critical
creativity. We have proposed an elaboration and alteration of sub-theory 10 through
the theory of creativity as the blending of art forms and reflexivity, facilitated through
the blending and weaving that is evident in professional artistry in order to achieve the
outcome of human flourishing. We have outlined the background to this work includ-
ing our philosophical and methodological journeys with critical social science and the
creative arts that have enabled the articulation of critical creativity. Whilst recognising
the need to undertake further work clarifying the concepts underpinning the
proposed theory of creativity in Fays framework in order to make explicit the rela-
tionship between it and the other theories, this article provides a framework for those
interested in the integration of action-oriented methods of research and development
with the creative arts. Our challenge is to ensure that the theory of creativity possesses
what Fay describes as a stereoscopic vision for the integration of art forms with
reflexivity in order to enable human flourishing. Little work has been undertaken to
develop theoretical frameworks that integrate creative expression with systematic
approaches to research and development. The use of critical creativity as philosoph-
ical, theoretical and methodological bases enables traditional paradigms and research
methods to be challenged and explored. We propose here that the new theoretical
framework presented in this article underpins action research and offers direction for
action researchers who are interested in working with a creative methodology through
the integration of cognitive and artistic methods. The philosophical and theoretical
principles articulated here offer a basis for the co-construction of methodologies in
action research and PD. This journey of theoretical construction and methodological
development is far from over! We welcome further dialogue to assist us on our way.
Notes
1. We are grateful to Professor Brian Fay, who, through the process of peer review, provided us
with a form of words to help articulate the central message of our article when we were strug-
gling to do this in a way that captured the essence of our message. Professor Fays critique
enabled us to achieve a greater theoretical clarity in our work.
2. In Fays (1987) original work, he used the word force instead of power. For the purposes of
this article and our understanding of critical social science in the context of the development of
practice in health and social care contexts, we understand Fay to mean power when he uses
the word force.
3. The development processes were undertaken with some other members of the practice devel-
opment colloquium, namely: Maeve McGinley, Liz Henderson, Carolyn Kerr and Cathy
OConnell. We wish to acknowledge their contribution to the development of our understanding
Critical creativity 263
of critical creativity and the articulation of key attributes and processes. We also wish to acknowl-
edge the critique offered by other members of the colloquium.
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