This article examines the transformative potential of the 2CG® (Content- and Context-specific Generic Competency Coaching) method in advancing climate education across disciplines, hierarchies, and cultures. Drawing on case studies and theoretical insights, it demonstrates how this multi-method approach deepens emotional engagement through imagination, challenges entrenched behaviours, and supports the development of climate-responsive competencies. By integrating polyphonic storytelling, poetry, the arts, and climate fiction, the 2CG® framework empowers learners to critically engage with ecological issues and adopt climate-conscious behaviours. Central to the approach is the co-creation of climate imaginaries — transformative narratives that interweave human and more-than-human perspectives to foster deep reflection, relational awareness, and contextually grounded action. Overall, this pedagogical model cultivates the cognitive, emotional, and dialogical capacities learners need to navigate complexity and contribute meaningfully to just and regenerative transitions.

This paper shares a heuristic to support thinking about meaningful transformative education within the context of the contemporary environmental and social crisis. We describe the context of this work and explore the epistemological foundations for this model, which has been evolving and guiding our research and teaching and which underpins the six qualities of meaningful transformative education. The qualities are being open to alternative visions of the future and alternative approaches to education, accepting and embracing complexity, incorporating multiple types of knowledge, reorienting towards justice, developing ecological worldviews and supporting students to bring about systemic change. We also present a series of illustrative vignettes, informed by real-world practices of schools in England, which bring these qualities to life. The vignettes and subsequent discussion highlight possibilities and challenges for enacting a meaningful transformative education in schools.

Based on the critique of education for sustainable development (ESD) as a socio-political control element of ecological modernisation, we discuss the prefigurative potential of participatory photovoice research in schools in light of social-ecological transformation. We argue that engaging students in prefigurative practices of change in which (sustainable) counter-futures are explored in the (unsustainable) present can help to re-politicise ESD, and we view photovoice as a way to guide this transformative process. Drawing on examples from a participatory research project on the transformation of local food systems in Graz, Austria, we critically explored photovoice as a method of transformative education that creates power-critical spaces of possible futures in which (un)sustainable hegemony and collectively internalised patterns of thought and action can be questioned to envision and negotiate liveable futures for all.

Re-visiting the ideas of some key educational thinkers and critical management theorists, this paper re-affirms the need for a critical pedagogy of organizational power and politics to foster deeper levels of reflection and ethical attitudes among undergraduate management students. While prescriptive pedagogical approaches can impart knowledge that may be useful to future managers, they often encourage a shallow and instrumental view of power in which profits are placed above ethics, and expediency above morality. As argued here, a critical pedagogy will encourage a more productive analysis of power-related phenomena in organizations, and will nurture attitudes and behaviours that can humanize management practice. The first part of the paper examines the key theoretical concepts of the proposed approach, the second discusses a set of themes emerging from a critical analysis of organizational power and politics in a management subject, and the third discusses common challenges encountered by academics committed to critical approaches.

This article explores the implementation of PEARL (Political, Embodied, Active, and Reflective Learning) in two courses at The University of Queensland: a first-year introductory Indigenous Studies course and a second year Indigenous Education course. We draw on findings from a 2-year (2010–2011) Office for Learning and Teaching (then ALTC) funded curriculum renewal project and findings from a pilot project (2013) implementing PEARL in a compulsory Indigenous Education course for all pre-service teacher educators in primary and secondary teacher training at The University of Queensland. Drawing transformative education theory into conversation with critical pedagogy and anti-colonial/racist education, we share student data from focus groups, questionnaires and reflective journals to examine the shift in students’ understanding of Indigenous issues, histories and peoples. Finally, we reflect on the ways the results hold great potential for the further implementation of PEARL into other university level courses, specifically in relation to a ‘pedagogy of solidarity’ between Indigenous and non-Indigenous people.

This article explores the concepts advanced from the Australian Learning and Teaching Council (ALTC)-funded project, ‘Exploring Problem-Based Learning pedagogy as transformative education in Indigenous Australian Studies’. As an Indigenous art historian teaching at a mainstream university in Canada, I am constantly reflecting on how to better engage students in transformative learning. PEARL offers significant interdisciplinary theory and methodology for implementing content related to both Canadian colonial history and Indigenous cultural knowledge implicit in teaching contemporary Aboriginal art histories. This case study, based on a third-year Indigenous art history course taught at University of Regina, Saskatchewan in Canada will articulate applications for PEARL in an Aboriginal art history classroom. This content-based course lends itself to an interdisciplinary pedagogical approach because it remains outside the traditional disciplinary boundaries accepted in most Eurocentric-based histories of art. Implementing PEARL both theoretically and methodologically in tandem with examples of contemporary Indigenous art allows for innovative ways to balance course content with the sensitive material required for students to better understand and read art created by Indigenous artists in Canada in the past 40 years.