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Ontario Institute for Studies in Education of the University of Toronto

Dr. Rubén Gaztambide-Fernández

Associate Professor
Department of Curriculum, Teaching and Learning
Ontario Institute for Studies in Education at The University of Toronto
252 Bloor Street West
Toronto, ON M5S 1V6


  • Gaztambide-Fernández, R., Howard, A. (Eds). (2010). Educating Elites: Class Privilege and Educational Advantage. Cambridge, MA: Harvard University Press
    [ Link ]
  • Gaztambide-Fernández, R. (2009). The Best of the Best: Becoming Elite at an American Boarding School. Cambridge, MA: Harvard University Press
    [ Link ]
  • Gaztambide-Fernández, R., Harding, H., & Sordé-Martí, T. (Eds.). (2004). Cultural Studies and Education: Perspective on Theory, Methodology, and Practice. Cambridge, MA: Harvard Education Publishing Group.
    [ Link ]
  • Gaztambide-Fernández, R. & Sears, J. (Eds.). (2004). Curriculum Work as a Public Moral Enterprise. Denver, CO: Rowman & Littlefield.

Journal Articles:

  • Gaztambide-Fernández, Rubén A. 2011. Musicking in the city: ReconceptualizinCultural Studies and Educationg urban music education as cultural practice. Action, Criticism, and Theory for Music Education 10(1): 15–46.
    [ Link ]
  • Gaztambide-Fernández, R., Cairns, K., Kawashima, Y., Menna, L. & VanderDussen, E. (2011). Portraiture as pedagogy: Learning research through the exploration of context and methodology. *International Journal of Education & the Arts*, *12*(4). Retrieved [date] from http://www.ijea.org/v12n4/.
  • Gaztambide-Fernández, R. (2010). Wherefore the musicians? Philosophy of Music Education Review, 18(1), 65-84.
    [ Link ]
  • Gaztambide-Fernández, R. (2009). What is an elite boarding? Review of Educational Research, 79(3), 1090-1128.
    [ Link ]
  • Gaztambide-Fernández, R. (2008). The artist in society: Understandings, expectations, and curriculum implications, Curriculum Inquiry, 38(3), 233-265.
    [ Link ]
  • Gaztambide-Fernández, R. (2008). “The artist in society: Understandings, expectations, and curriculum implications,” Curriculum Inquiry.
  • Gaztambide-Fernández, R. (2006). “Regarding race: The necessary browning of our curriculum and pedagogy public project,” Journal of Curriculum and Pedagogy, 3(1), 60-64.
  • Gaztambide-Fernández, R. (2004). "Profetas de la cultura: The Puerto Rican Reggae of Cultura Profética. CENTRO: Journal of the Center for Puerto Rican Studies, 17(2). 226-247.
  • Gaztambide-Fernández, R. & Gruner, A. (2003). (Eds.). Popular Culture and Education [Special Issue]. Harvard Educational Review, 73(3).
  • Gaztambide-Fernández, R. (2002). “Reggae, ganja, and black bodies: Power, meaning and the markings of postcolonial Jamaica in Perry Henzel's 'The Harder They Come',” The Review of Education/Pedagogy/Cultural Studies. 24(4), 353-376


  • Gaztambide-Fernández, R. (2009). “Toward creative solidarity in the "next" moment of curriculum work.” In E. Malewski, (ed.), Curriculum studies—next moments: Exploring post-reconceptualization. New York: Routledge.
  • Gaztambide-Fernández, R., Sloan, K., Franck, K., McDermott, M., & Gershon, W. (2006). “Is curriculum work?” In J. Milam, B. Steven Carpenter III, S. Springgay, & K. Sloan (eds.), Curriculum for a progressive, provocative, poetic and public pedagogy – Selected Papers from the 2005 Curriculum and Pedagogy annual conference, (pp. 131 – 162). Troy, NY: Educator's International Press.
  • Gaztambide-Fernández, R. & Ali, A. M. (2007). “Fine Arts.” In K. Borman, S. Cahill, & B. Cotner, (Eds.), The Praeger Handbook of American High Schools, (pp. 178-183). Westport, CT: Greenwood.
  • Clark, A. & Gaztambide-Fernández, R. (2004) “Educating the artist of the future: Facing the challenge of public arts high schools.” In R. Gaztambide-Fernández & J. Sears (Eds.), Curriculum work as a public moral enterprise, (pp. 49 – 58). Denver, CO: Rowman & Littlefield.
  • Gaztambide-Fernández, R. (2002). “(De)Constructing Art as a Model / (Re)Constructing Art as a Possibility: An interactive essay exploring the possibilities of the arts in relationship to education.” In T. Poetter, K. Wilson Baptist, C. Higgins, C. Haerr, & M. Hayes, (eds.), In(ex)clusion: (Re)visioning the democratic ideal – Selected papers from the 2001 Curriculum and Pedagogy annual conference, (pp. 83 – 107). Troy, NY: Educator's International Press.
  • Gaztambide-Fernández, R. (2001). “Boston Arts Academy: Collaborative spirit, huge challenge, respect for who everybody is and who everybody wants to be.” In J. Davis (Ed.), Passion and industry: Schools that focus on the arts, (pp. 105-182), Natick, MA: National Arts and Learning Foundation.