Donna Frost

Chapter 8 260 of problem solving are more highly valued in our contexts than other ways of knowing. Consider, for example, that admission to a masters programme in nursing science or health science at a Dutch university does not require a nursing or allied health professional qualification (aan de Stegge & Wiegman, 2015 ). This suggests that the experiential knowledge of working in healthcare is seen as irrelevant to being able to understand, critique and generate propositional knowledge about nursing and the work of health professionals. Under these circumstances the illumination of professional artistry and attention for its development is not likely to occur spontaneously. Space must be created. The present research demonstrates that it is certainly possible to create reflective spaces for stillness, contemplation, dialogue and engagement both away from the workfloor and in the midst of practice. Titchen’s ( 2019 ) dimensions and processes of professional artistry are also evident in both the findings of the inquiry, as explained earlier in this chapter, and the ways in which we came to understand its facilitation. The dimensions of self (see Figure 8 . 2 ) were visible and necessary in the inquiry processes described in Chapter 5 and identifiable in the facilitation activities presented in Chapter 7 . Both inquiry groups drew on different ways of knowing, artistic qualities, different knowledges and multiple intelligences to uncover and explicate instances of professional artistry in nursing practice. My use of self and my developing praxis skills were evident in the creation of a safe and sheltered space at the beginning of each CCCI meeting, for example, and during practice observations. Collaborative meaning making and contestation of our developing understandings was enabled, furthermore, by drawing on multiple intelligences, creative imagination, artistic and cognitive critique and multiple discourses. Titchen’s ( 2009 , 2019 ) professional artistry processes (see Figure 8 . 3 ) were also evident with respect to the facilitation of the development of professional artistry. At times our use of the CCCI lemniscate was hesitant and at these times the professional artistry processes as described by Titchen were less evident in the inquiry work. Early in the inquiry, for example, I was yet to develop professional artistry as a facilitator: although I drew on some or all of the dimensions I did not do so in fluid, balanced and synchronous ways. As my professional artistry as a facilitator developed the professional artistry processes, as well as the different dimensions of self, became evident in my facilitation practice. I became able, in other words, to embody the processes of critical and artistic critique, the second milestone described in Chapter 7 .