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.
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Arts Education Research
Benjamin Jörissen, Leopold Klepacki, and Ernst Wagner
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Indigenous Language Revitalization
Anne Marie Guerrettaz and Mel M. Engman
Countless Indigenous languages around the world are the focus of innovative community regeneration efforts, as the legacies of colonialism have created conditions of extreme sociopolitical, educational, and economic adversity for the speakers of these languages—and their descendants. In response to these conditions that Indigenous people face globally, the burgeoning field of Indigenous language revitalization and maintenance has emerged since the 1990s with the goal of supporting speakers of these languages and future generations. Indigenous language revitalization involves different but often interlocking domains of research, practice, and activism. Given the uniqueness of each community and their desires, history, values, and culture, the significance of the local is critical to the global phenomenon that is language revitalization. For instance, cases on five different continents offer valuable insights into this field, including the Hawaiian language in Oceania; Myaamia in the United States (North America); Básáa in the Cameroon (Africa); Sámi in Finland (Europe); and, Cristang and Malay in Malaysia (Asia). These offer examples of both local resources and common challenges that characterize revitalization efforts.
The field of Indigenous language revitalization is interdisciplinary in nature, exemplified through five lines of inquiry that significantly contribute to this area of research: (a) theoretical linguistics and anthropology, (b) applied linguistics, (c) education, (d) policy studies, and (e) critical studies, including postcolonial studies, Indigenous studies, and raciolinguistics. Questions of research ethics are central to the field of Indigenous language revitalization since reciprocity and collaboration between researchers and Indigenous communities matter as the lifeblood of Indigenous language revitalization work. Finally, we believe that the notion of Indigenous language revitalization pedagogies along with underexplored Indigenous concepts (e.g., from Yucatecan and Māori scholars) offer compelling directions for future research.
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Refugee Girlhood and Visual Storied Curriculum
Michelle Bae-Dimitriadis
Decolonizing girlhood illuminates an attempt to refuse and recover the pathological representation of Indigenous refugee girls by going beyond the discourse of the Western construction of girlhood. It takes an anticolonial, critical race feminist approach to the understanding of girlhood that challenges the intersectional, racialized exclusion and the deficit representations of Indigenous refugee girls, which are often reinforced by humanitarian schemes of embodied vulnerability. The digital visual fiction stories created by Karen tribe refugee girls in a media arts summer workshop reposition their presence by creating spaces in which they can speak their own desires, share their imaginings, and portray their struggles. Through this experience, these girls challenge colonial social realities and the fantasies of democracy. Ultimately, their futuristic visual fiction acts as a form of counter-storytelling that illustrates an alternative curriculum space and flips the hegemonic script for empowerment.
