Three key publications from September 2000 point to rapid changes in the educational and arts environment in Hong Kong that will impact on the development of dance education. This paper provides some contextual details on the current state of dance education in Hong Kong and also examines the influence and possible ramifications implicit within these publications. A brief outline of the prevailing scope of professional activity is also provided. The necessity for teacher training to facilitate change is then discussed. [ABSTRACT FROM AUTHOR]; Copyright of Research in Dance Education is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.
[Copyright of Research in Dance Education is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14647890220129131]

Our main concern is to see if cultural studies can intervene more productively in the dominant educational processes, in ways that align with the sustainable interests of its critical project. As cynicism becomes the commonplace 'distinction' of our young graduates, we raise two questions: why should cultural studies be concerned with the spread of cynicism within our own institutional and pedagogic space? And what would be the implications of such critical reflection on our current practices, as scholar and teacher of this critical project? The paper draws on our continual engagement with the curriculum reform of secondary school subjects (Integrated Humanities and Liberal Studies) in Hong Kong, in an attempt to explore the limits and opportunities of education as social practice, as well as the effectivity of cultural studies within the contemporary contexts and crises of education. First we describe how taking part in the specific school reform projects has begun to change the critical and pedagogic orientation of cultural studies we do at the university. Then we discuss the implications of our recent experiments in doing cultural studies in and with the local schools. In all, we want to examine what brings us to our own search for a certain 'politics of hope', by re-thinking and re-mapping cultural studies as a collective, pragmatic programme in the local educational set-up. For, without a constructive pragmatics, the students of cultural studies cannot be expected to work effectively across diverse institutional settings. Thus, criticism and the production of critical knowledge in the contemporary academy would go on to foster a state of cynicism among its graduates and the 'stakeholders' concerned. Cultural studies, we believe, can make itself more useful through concrete ways of mediating its expertise in the complex processes of education. As such, we emphasize the contemporary relevance and uses of cultural studies for educational transformation.
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This paper presents a comparative study of extra-musical learning in the music classes of the schools of Hong Kong and Taiwan, where education is geared towards democracy and citizenship at a time of unstable national identity for both communities. Taiwan has been undergoing a process of indigenisation since 1945, whilst Hong Kong's sovereignty was returned to the People's Republic of China after 1 July 1997. This paper argues that the transmission of extra-musical learning is essentially a response to the particular needs of these two Chinese historical-social contexts, which require their music curricula to be securely grounded in the ideology of a culturally based education for 'citizenship'. Despite different approaches to western-based musical knowledge in schools, Hong Kong and Taiwan attempt to promote a sense of national identity and an essentially Confucian set of moral values as a central goal of school music education. The promotion of ethno-cultural nationalism in Taiwan's music education is regarded as a democratic goal for the Taiwanese state, though in practice, the educational systems of both Taiwan and Hong Kong are coloured by the global context.
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http://dx.doi.org/10.1080/0305792032000070066]

Writers on colonial education have generally assumed that colonial curricula were tools of metropolitan political and cultural 'hegemony'. In particular, it is alleged that colonial history curricula neglected or ignored the histories of indigenous populations. Through analysing the case of Chinese History in Hong Kong, this article demonstrates that these assumptions are highly misleading. Far from exercising 'hegemonical' authority over the school curriculum, the colonial government was to a large extent the prisoner of its local collaborators. For reasons of political as well as educational expediency, in the post-war years the government initiated a conservative Chinese History curriculum to be taught alongside the separate subject of 'History'. Subsequently, a strong Chinese History subject community evolved, who by appealing to nationalist sentiment were able to resist successfully the calls for reform. As a result, efforts by both the colonial and post-colonial administrations to resolve the anomaly of having two history subjects have proved fruitless.
[Copyright of Oxford Review of Education is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/0305498032000045386]