In this article, we present the effects of globalization on art forms in Peru and on teacher identity in India while exploring hybridization as an ongoing global paradigm in both contexts (Bhabha, 1994; Said, 1979). Peruvian art forms are continuously shifting as global cultures meld and become more technologically connected, which ultimately brings about questions of authenticity. The identities of Indian art educators are evolving, and shifting indicating an assemblage or structure containing many parts working together to perform a particular function. In realizing its function, the structure can be named or its form made visible (Deleuze & Guattari, 1987). This article examines some of these functions through post-colonial lenses to explore the notion of authenticity. In a process of self-reflexivity, both authors ponder how we occupy and are pre-occupied by our identities, roles as art educators and researchers, and how this affects power dynamics in our work. Both researchers’ accounts are important as a means to study the changes of cultures, identity, and art forms (inter)nationally, and to enable equitable processes of cultural exchange and learning in art education.
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