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.
Petra Munro Hendry
Within contemporary, conventional, interpretive, qualitative paradigms, narrative and curriculum theorizing have traditionally been understood as primary constructs through which educational researchers seek to explain, represent, and conduct inquiry about education. This article traces shifting understandings of Western constructs of narrative and curriculum theorizing from a modernist perspective, in which they were conceived primarily as methods central to the representation of knowledge, to postmodernist perspectives in which they are conceptualized not as epistemological constructs, but as ethical/ontological systems of becoming through/in relationships. Historically, the emergence of “curriculum” and “narrative” (as phenomena) within a modernist, technocratic paradigm, rooted in an epistemological worldview, were constructed as “technologies” whose purpose was to represent knowledge. Current critiques of narrative and curriculum theorizing from the perspective of postmodern, poststructural, feminist, and new materialist perspectives illuminate understandings of these constructs as ethical-ontological-epistemological phenomena. From this perspective, narrative and curriculum theorizing have shifted from being understood as grounded in epistemology in order to provide “better” understanding/knowledge of experience, and alternatively are understood as ethical obligations to “be” in a web of relationships/intra-actions.