Ensemble practices have been essential to the performing and visual fine arts over centuries. The skills of working in ensembles, including team work and collaborative learning, are increasingly understood to be critical and transferable professional attributes. However, much teaching of ensembles is practical and embodied, relying on tacit knowledge within a focused specialism. This kind of approach champions depth of expertise in a particular field, but may have limitations, particularly where more explicit awareness is needed to support transferring practical skills to new contexts. There is therefore a need to strengthen reflective practice in ways that connect explicit procedural understanding with tacit practical experience. To serve this purpose, this paper develops a reflective matrix as a framework to support dynamic reflection for students and teachers in higher arts education. The matrix emerges from analysis of the literature across music, theatre, dance and visual fine art.

An earlier version of the book has been published with incorrect citation for the quotation "An organized field of social practices, a form of work…" as (Appadurai 2006, 31) on page 198. The citation has now been corrected as follows: An organized field of social practices, a form of work (in the sense of both labor and culturally organized practice), and a form of negotiation between sites of agency (individuals) and globally defined fields of possibility.

In light of recent discussions on the importance of shared visions in teacher education, this inquiry raises necessary questions as to whose visions shape unified and shared visions, and whose remain absent, unspoken, or silenced in the margins. The starting point for this inquiry was a set of visions for music education in Nepal that were co-constructed with over 50 musician-teachers working in the Kathmandu Valley, during a series of 16 workshops guided by Appreciative Inquiry’s 4D cycle. Despite the challenges female musician-teachers encounter in their pursuit of music in Nepal, no reference to these injustices was apparent in the resulting shared visions. This inquiry therefore engages with the nature and possible causes of this lack of reference, leaning on economist and philosopher Amartya Sen’s (2009) idea of justice and social-cultural anthropologist Arjun Appadurai’s (2004) notions of the capacity to aspire and the capacity for voice. The critical (Kuntz, 2015) and reflexive (Alvesson & Sköldberg, 2009) work guiding this inquiry suggests that while the workshops were guided by the aim to be inclusive, the need to come to consensus when co-constructing shared visions both reflected and obscured the injustices experienced by female musician-teachers. The article concludes by offering insights for music teacher education.

Reflective practice has long been understood to be integral to the arts, but has predominantly been conceptualised in terms of tacit or individual activity. Identifying the need to reimagine and deepen reflective practice in higher arts education as explicit, collaborative, and integrally connected to artistic practice, this article explores the potential of a reflective matrix focused on ensemble practices, teamwork and collaborative learning in the arts for promoting interconnections between reflective practice and collective creativities. The article reports on a collaborative research approach based on in-depth interviews with 12 professors and lecturers of dance, music, theatre, and visual arts from the University of the Arts Helsinki, Finland that were analysed in stages using the reflective matrix. The results demonstrate how working with the matrix provided opportunities for extending understandings of ensemble practices and particularly of the collective creativities within them. Insights gained include the ways in which our iterative and dialogic way of engaging with the matrix challenged our initial expectations and deepened our understandings of two professional dilemmas: engaging with an audience and navigating correctness. The article concludes by attending to the implications of our approach for both research and practice in higher arts education.

This chapter explores how co-constructing visions might engage teachers as inquirers in a 'majority world' context by reflecting on a series of 16 Appreciative Inquiry workshops involving over 50 musician-teachers in the Kathmandu Valley, Nepal in 2016. It extends the concept of teachers' visions (Hammerness, Teach Educ Q 31(Fall):33-43, 2004) through socio-cultural anthropologist Arjun Appadurai's notions of the imagination (Modernity at large: Cultural dimensions of globalization. University of Minnesota Press, Minneapolis, 1996) and the social and cultural capacity to aspire (Culture and public action. Stanford University Press, Stanford, 2004). The chapter reflects on the processes that took place when co-constructing visions, including the ways co-constructing visions may have been the fuel for action, and analyzes the implications of the resulting co-constructed visions. The findings highlight the importance of developing and supporting collaborative learning for the development of both preservice and inservice music teacher education.Keywords Teachers' visions · Co-constructed visions · Imagination · Capacity to aspire · Appreciative inquiry · Majority world · Nepal Music teacher education today is faced with the challenge of preparing professionals for an uncertain future; teachers who are capable of ethically engaging in intercultural settings, and continuously and systematically inquiring to increase their professional knowledge (see e.g. Cochran-Smith and Lytle 2009; Holgersen and Burnard 2013). One possible way of engaging with such an uncertain future is through envisioning. In the field of education, Karen Hammerness defines teachers' visions as the