Martin Mills and Glenda McGregor
Alternative schooling has a long history. However, defining alternative schooling is difficult because it necessitates an answer to the question: “alternative to what?” It suggests that there is an accepted schooling archetype from which to differentiate. However, just what that model might be is likely to vary over time and place. In one perspective, alternative schools challenge what Tyack and Tobin, in 1994, referred to as the traditional grammar of schooling as it pertains to conventional forms of schooling developed in Western societies since the Industrial Revolution. Alternative schools challenge the taken-for-granted grammar of schooling variously through their organization, governance structures, curriculum, pedagogy, type of students, and/or particular philosophy. Certain types of alternative schools, including democratic schools, developmental and holistic alternative schools (e.g., Montessori and Waldorf/Steiner), and flexi schools, might offer lessons to the educational mainstream on how to be more inclusive and socially just. However, there are also ways in which they can work against such principles.
Benjamin Jörissen, Leopold Klepacki, and Ernst Wagner
Research in arts education is characterized by a tension between presupposed theoretical concepts about “arts” and “education,” on the one hand, and the global field of untheorized arts education practices, on the other hand. This complexity is greatly magnified by the various historical and cultural understandings that characterize both the institutionalization of the arts as well as arts education itself. The fact that research traditions are themselves closely connected to a particular field of arts education adds an additional dimension to this complex question: according to our meta-studies relating to arts education-research, it is particularly evident that (1) Western and Eurocentric biases are quite dominant in this research field and that (2) well-established (Western, highbrow) art genres are dominating the research landscape, tying specific research styles, research interests, and objectives toghether.
To avoid normative and potentially hegemonial biases resulting from this situation, we analyze various arts education research approaches according to their the ontological, epistemological, and methodological anchorings. Based upon this, we develop a general meta-model of arts education research, combining a typology of perspectives defining arts education research and a set of dispositive dichotomies constitutive for this field.