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.
Benjamin Jörissen, Leopold Klepacki, and Ernst Wagner
Ana Patricia Noguera de Echeverri, Diana Alexandra Bernal Arias, and Sergio Manuel Echeverri Noguera
A bet, a clamor, an algid need, to “thinking us” (as a collaborative, and reflexive thinking in a prospective way) about environmental education, or better, the environmentalization of education, in a decolonization that helps us think: How do we inhabit “this South that we are” in times of environmental crisis? Thinking us, in this environmental crisis, that is civilizatory. Thinking about it, and thinking us from an “environmental turn” (a change in the way we look at everything, far from seeing life as a resource, and far from devastating capitalism): from the environmental as an object to the environmental as deep and complex symbolic–biotic relationships between ecosystems and cultures. It is an environmental turn that recognizes the felthinking() Body-Earth (Noguera, 2012) that we are in an aesthetic, sensitive transit, in which the polyphonic voices of these lands emerge in the South Environmental Thought. Our paths are many, however. One of them that we wish to name Methodesthesis as the path of feeling, where the sensitive, the sensibility, the sense, the senses, and the sentient allow an understanding of the language of the Earth and the permanent aesthetic creations of the Earth-Nature-Life that we are, in a radical dissolution of the cognitive subject and the measurable object. It is an ontic, epistemic-ethical-aesthetic-political proposal, but above all it is an urgency, an enjoyment, a poetic flourishing of life itself, of the Earth and of us as life and land, in a decolonized southern environmental education and decolonizing that allows transitions for a more poetic dwelling in this South than we are.
Rebecca Heaton and Richard Hickman
A range of arguments is used to justify the inclusion of the arts in schools’ curricula from different parts of the world, moreover, "the arts" can mean different things to different audiences. It is therefore useful to contextualize why and how arts education contributes to such things as social utility, personal growth, and aesthetic awareness. Arts education in many countries is being marginalized, and the cognitive value of arts education is being sidelined. By reinstating the arts in education as cognitively driven, culturally relevant, and progressive, an arts offering can be formed that aligns with, and advances, contemporary perspectives and practices in education.
A common definition of listening distinguishes between hearing and listening. The basic distinction describes hearing as a passive action of perceiving sounds, whereas listening involves paying active attention to various layers and elements of what one is hearing. Active listening to music, featuring the discerning of sounds, musical structures, harmonies, and the interrelations between the sounds, is akin to contemplating complex ideas. Providing meaning for this nexus of relationships requires listeners to grapple with these complex musical nuances, listening to different layers of the melody and harmony and connecting them to cultural and historical aspects. Challenging students to grapple with the complex nuances of musical pieces, to listen to different layers of the melody and harmony, and to connect those elements to cultural and historical aspects will provide them the opportunity to reflect upon the social and cultural contexts in which they live. The concept of what it means to be active (or mindful) has been examined from various perspectives and theories and holds great potential in advancing individual growth and social sensitivity.