highly adaptable species that tend to colonize such transitional areas. (Wikipedia n.d.)Practical theologians should be such 'highly adaptable' practitioners. But, in order to develop into this kind of practical theologian, some of us will need to make a major paradigm shift. It requires a shift away from a foundational understanding of theology to a postfoundational, and therefore narrative understanding.The ecotone seems to be a powerful metaphor for a postfoundational practical theology. The practical theologian who operates in and from this paradigm, finds him- or herself in the safe, but fragile public space created in interdisciplinary dialogue. Such a practical theology is involved with an increased diversity of narratives. In and through these narratives more than one set of habitats are visited and revisited.The only credible way of visiting such other habitats or narratives is with and through the personal story. If other life stories are regarded as works of art, the implication is for practical theologians, researchers, or facilitators to regard themselves in the same way. These other stories cannot be visited with the illusion that the researcher7 is objective and untouched. To the contrary, when other stories are visited, risky steps are taken and one cannot avoid the sharing of one's personal story.8 But given the notion of an artwork, it is not only risky, but also very empowering. It is to become aware of being part of a network of stories and being drawn into the weaving of a bigger picture or work of art as it relates to facilitation, research and other roles - indeed a safe, but fragile public space. The inscribed facilitatorIt is not in the least only the facilitator's story that matters but also the telling and retelling of those in facilitation -those with whom the facilitator shares the fragile but safe space. The story telling includes also the collaborative construction of the story of the movement or organisation (i.e. the dialogical context or habitat). The facilitator and other participants find themselves embedded in a network of stories that are collaboratively shaped. The religious and/ or spiritual dimension is ever part of this telling and retelling in the shaping of reality. The facilitator finds him- or herself in a gallery of living art where the works of art also find a particular expression collectively that is different from expressions found in other galleries. Visiting this art gallery and individual works of art creates a potential to accomplish whatever it is that we hope to achieve together in facilitation. In terms of our own focus as well, we agree with Rorty, who would have us understand of philosophy that its function is not to arbitrate truth but to tell stories (Robbins 2011:xii-xiii): with pursuing philosophy, like telling stories, there is a 'shared ability to appreciate the power of redescribing, the power of language to make new and different things possible and important' (Rorty 1989:39; cf. Robbins 2011:xii-xiii).What informs the inscribed facilitator?The idea of being inscribed has relevance in particular ways. It firstly relates to the narrative dimension of our lives, and in relation to practical theology, particularly