In Hong Kong, the principle of 'one curriculum framework for all' applies to all students, including students with special educational needs (SEN) (EDB 2020. "Special Education Needs." https://www.edb.gov.hk/en/curriculum-development/major-level-of-edu/special-educational-needs/index.html). Students with intellectual disabilities (ID) are expected to achieve the same learning targets as their counterparts in mainstream schools. Within this common curriculum framework, students (age 6-14) study Music with one of its overall aims 'to develop creativity' (CDC 2003. "Music Curriculum Guide" ("Primary 1 - Secondary 3"). Hong Kong: CDC, 11). This qualitative multiple case study reports a sample of nine music teachers fostering the musical creativity of students with ID. A discussion of the findings reveals that in this sampling: (1) instructional strategies focus on the process not product of musical creativity, (2) creative fostering strategies embody gamification and (3) these music teachers re-frame creativity as being innate and commonly held by their students with ID. Copyright © 2021 Routledge.

本研究嘗試探討嚴重智障兼多重弱能兒童是否具備高階思維的共通能力︰創造力、批判性思考能力、解決問題能力。透過文獻探究擬定評估準則，並利用互動故事作為教學策略，進行施教、觀察和評估，以得出結果。研究結果顯示，嚴重智障兼多重弱能兒童一樣具備不同程度的高階思維能力。只要因應學生的學習特性和需要，給予適當的引導和啟發，一樣可以提升這些方面的能力。當然，他們必須經過不斷的練習，及教師採取多元化的課程設計、教學策略和活動來引導學生，才能提升和鞏固其高階思維的能力。 The study examined whether students with severe mental handicap and multiple disabilities had higher order thinking skills: creativity, critical thinking skills and problem solving skills. The students were taught using the strategy of interactive story and the assessment criteria of the three higher order thinking skills were develop through reviewing related studies in the literature, Students' performance in the three higher order thinking skills were observed and rated based on the developed assessement criteria. The results indicated that students with severe mental handicap and multiple disabilities exhibit different degree of higher order thinking skills during the lessons. In teachers could provide appropriate guidance and stimulation based on the characteristics and needs of these students, higher order thinking skills could be developed though repeated practice would be necessary to reinforce the skills.
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Given the growing awareness of the importance of cultural-specific studies in creativity, the purpose of this study was to develop a rating scale (Creative personality Questionnaire, CPQ) to elicit Hong Kong Chinese preschool teachers' perceptions of creative personality and to determine the factor structure of the CPQ. Items for the CPQ were generated using literature search and interviews. Participants comprised of 564 Chinese preschool teachers. A series of exploratory and confirmatory factor analysis revealed a 20 items, five-factor model (cognitive abilities, discipline, motivation, inventiveness, personal properties) for the CPQ. While most of the personality characteristics in the CPQ were congruent with those suggested in the literature, characteristics relating to well mannered, honest, cautious, and need for recognition in the discipline domain reflects the influence of Chinese culture. The core creative personalities perceived by the Hong Kong Chinese preschool teachers were found to be similar and these characteristics generally aligned with the western views. This study expands the availability of reliable tools for assessing preschool teachers' perception of creative personality and leads to further studies on examining how the teachers' personality affects classroom practices and children's creative learning.
[Copyright © Pergamon Press].

One proposed initiative of the Hong Kong Government is maintaining the city's competitiveness and strategies by cultivating the creativity of her people. Thus, understanding the economic outputs generated by people's creativity, and the structural and environmental conditions that allow people to remain creative is important. This paper examines the concept of creativity and the two main forms of creativity cultivation in schools. Based on interviews with teachers of a local secondary school excelled in drama education, the contributions of a whole-school approach, internal support and opportunities, and capital resources to creative education in school are explored. Finally, a stronger emphasis on creativity education in extra-curricular activities, and vocational education and training is proposed, especially for students of lower academic achievements and those from backgrounds of lower socioeconomic status.
[Copyright © 香港靑年協會].