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This article defines dramatic inquiry, exploring its possible contributions to discourses on subjectivity, embodied pedagogy, and relational knowing in art education. As a communal, ensemble endeavor emerging from the discipline of drama education, dramatic inquiry offers strategies for enhancing arts education's critical inquiries by facilitating imaginative, transformative dialogues from within visual culture phenomena. Theoretical reflections on dramatic inquiry's origins and its potential educational value are accompanied by suggestions for teaching and learning practices that inspire “critical questions that envision alternative just futures” (Desai, 2009 Desai, D. (2009). Imagining justice in times of perpetual war: Notes from the classroom. Journal of Curriculum and Pedagogy, 6(2), 6–25.[Taylor & Francis Online] , [Google Scholar], p. 25) and imagine their fruition. Building on Heathcote's (1984 Heathcote, D. (1984). Collected writings on education and drama. L. Johnson & C. O'Neill (Eds.). Melbourne, Australia: Hutchinson. [Google Scholar]) work in drama education and Edmiston's explicitly critical, socio-cultural orientation (Freire, 1970 Freire, P. (1970). Pedagogy of the oppressed. (M. Ramos, Trans.). New York, NY: Continuum. [Google Scholar]; hooks, 1994 Hooks, B. (1994). Outlaw culture: Resisting representations. New York, NY: Routledge. [Google Scholar]; Kumashiro & Ngo, 2007 Kumashiro, K., & Ngo, B. (2007). Six lenses for anti-oppressive education: Partial stories, improbable conversations. New York, NY: Peter Lang.[Crossref] , [Google Scholar]) we explore Edmiston's (2011 Edmiston, B. (2011). Teaching for transformation: Drama and language arts education. In D. Lapp & D. Fisher (Eds.), The handbook of research on teaching the English language arts. New York, NY: Routledge. [Google Scholar]) seven key dimensions of dramatic inquiry through their use in K–12 classrooms and their resonance with contemporary artists' and art educators' practices.
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