Editorial: De(Fence)

The idea of a moving and critical voice is a metaphor for the Caucus on Social Theory and Art Education (CSTAE) and the role that it has played for the members of the National Art Education Association (NAEA). The inception and founding of the Caucus by a small group of art educators sprang from the felt need to bring a critical social theory perspective to art and art education (cyberhouse.arted.psu.edu/ cstae/25th-anniversary/ CSTAE25history.htm). Over the course of my participation in NAEA for the past eight years, the annual conference meetings of the CSTAE have functioned as a site for contribution, dialogue, criticality, discussion, dissent, debate, deliberation, concurrence, and liberation. I believe the Caucus has been a safe haven for many of us, a resting ground where we feel we can be ourselves, both seen and heard, where our individual and collective voices have a chance to be justly represented. We often introduce The Journal of Social Theory in Art Education (JSTAE) as the official journal of the CSTAE, which serves as an alternative voice for the field of art education through the promotion of scholarly research that addresses social theory, social issues, action, and transformation as well as creative methods of research and writing. Likewise, for the past three decades, the Caucus itself has served as an alternative voice for art education, promoting social theory, issues, action, and transformation. A heartfelt thank you to all CSTAE founding members and coordinators, journal editors, reviewers, and authors, working before and with us all of these years. Thank you for the traditions you have fostered and the legacy of the CSTAE that we inherit with you