This interview-based article about Hubert Hermans, founder of The Dialogical Self Theory (DST), was intended to determine the founder’s personal relationship to the construction and development of his theory and to provide a portrait of the engaged scientist and vulnerable researcher at work. DST lends itself to interdisciplinary research and practice, and is used in diverse fields and contexts (e.g. psychotherapy; bereavement scholarship; higher education). However, little has been written about the founder of the theory. I embarked on this project to illuminate the researcher and theorist as an individual who taps into personal material for practical and conceptual learning, and to honour Hermans’s contribution to the field of psychology, in the spirit of a Festschrift. Reinekke Lengelle (02 Apr 2021): Portrait of a scientist: in conversation with Hubert Hermans, founder of Dialogical Self Theory1, British Journal of Guidance & Counselling, DOI: 10.1080/03069885.2021.1900779
In today’s technological world, human intertwinement with the rest of nature hasbeen severely diminished. In our digital culture, many people hardly have any direct experience of and sense of connection with “the real” of the natural world. The author assumes that when we want to find ways to mend this gap, arts-based environmental education (AEE) can play a meaningful role. In AEE, artmaking is regarded as itself a way of potentially gaining new understandings about our natural environment. As a reflective practitioner, the author facilitated three different AEE activities, at several times and at diverse locations. On basis of his observations, memories, written notes, audio-visual recordings and interviews with participants, teachers and informed outsiders, he interpreted the experiences both of participants and himself. To this end he employed interpretative phenomenological analysis paired with autoethnography.The artmaking activities researched here aimed to bring about a shift in focus. Participants were encouraged to approach natural phenomena not head-on, but in an indirect way. Moreover, the artmaking process aspired to heighten their awareness to the presence of their embodied self at a certain place. The research questions that the author poses in this study are: (1) What is distinctive in the process of the AEE activities that I facilitate?; (2) Which specific competencies can be identified for a facilitator of AEE activities?; and (3) Does participating in the AEE activities that I facilitate enhance the ability of participants to have a direct experience of feeling connected to the natural world?In this explorative study, the author identifies facilitated estrangement through participating in AEE as an important catalyst when aiming to evoke such instances of transformative learning. In undergoing such moments, participants grope their way in a new liminal space. Artmaking can create favorable conditions for this to happen through its defamiliarizing effect which takes participants away from merely acting according to habit (on “autopilot”). The open-ended structure of the artmaking activities contributed to the creation of a learning arena in which emergent properties could become manifest. Thus, participants could potentially experience a sense of wonder and begin to acquire new understandings – a form of knowing that the author calls “rudimentary cognition.” The research further suggests that a facilitator should be able to bear witness to and hold the space for whatever enfolds in this encounter with artistic process in AEE. He or she must walk the tightrope between control and non-interfering.The analysis of the impacts of the AEE activities that were facilitated leads the author to conclude that it is doubtful whether these in and of themselves caused participants to experience the natural environment in demonstrable new and deep ways. He asserts that most of their awareness was focused on the internal level of their own embodied presence; engagement with place, the location where the AEE activity was performed, seemed secondary. The findings show that AEE activities first and foremost help bring about the ignition and augmentation of the participants’ fascination and curiosity, centered in an increased awareness of their own body and its interactions with the natural world. The present study can be seen as a contribution to efforts of envisaging innovative forms of sustainable education that challenge the way we have distanced ourselves from the more-than-human world.
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Each of us has a story that comes alive as we wake up in the morning, develops throughout the day, and holds layers of meaning as we lay our heads down at night – it might be called a narrative of our identity. When loss occurs, our story fragments into unfamiliar pieces, and who we identify as becomes scattered – sometimes even shattered. We must work to reconstruct meaning in our lives and to rebuild our identity. As leading author on this editorial, with an article of my own in this issue, I confronted this when my father died. I felt his story slipping away, becoming blurred, forgotten, and for some, erased – and the same held true for me. The chaos of my shattered identity exacerbated the deep pain of losing him and I experienced complicated grief. I had to reshape my narrative to remember the authentic parts of me and rebuild a new self in a fatherless world. This journey is in part what motivated me to become a symposium co-editor for the journal. All four of us editors of this special issue have experienced “living with loss” following the premature loss of either our father or spouse, and I wanted to see what lived experience and knowledge we could bring to the readers about loss in the fields of both guidance and counselling.
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