This article focuses on how staff in musical teacher education institutions experience and perceive the terms multiculturality, diversity, whiteness and white privilege, and how this might contribute to excluding structures. The author suggests through a post-qualitative rhizomatic analysis some ways through which excluding structures might be maintained, some touchpoints between different fields of practice, and some marginal practices with enough power to create alternative norms. The author also suggests some points of immanence, what can be seen as remaining within (unspoken of) the practices and a list of possible excluding practices and/or possible consequences for the marginalized groups.

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Analyzing global complexity demands for a sensitive perspective on power and hierarchies. This article is an inquiry on how post-human theories can contribute to analytical methodological tools with the aim of emphasizing nuances, differences and marginalized local, national and global strings of musical affiliation.

This special issue of JASEd offers insights to current research and practice pertaining to decolonizing perspectives of arts education. As the editors of this special issue, we each come from distinct positionalities, geographical locations, and contextual understandings. We found common ground in the need to discuss and share around the theme of decolonizing arts education. Spurred on by the seismic shifts of power, politics, and polarization that the world is currently experiencing, we noted an urgency to address what this might all mean in and for arts education.