戲劇教育自1980到1990年代輸入臺灣和香港的幼兒教育，作為一個課程改革的方法，過去多數研究集中在教學的實踐，很少以社會文化對照的角度分析這個來自西方的教育模式在地化過程。本文以「全球在地化」的理論，運用視像人種誌的研究方法，透過臺港兩地教學案例，探索與描述兩地幼兒機構進行戲劇教育全球在地化的實踐。研究結果發現，在戲劇教育模式、課程定位及教學方法等面向，臺灣具有調和、主軸及兒童本位的特點，而香港則是單一、邊陲與劇藝的特性。究其因多半和社會文化背景、教育體制、教師培訓和戲劇教育推動方式等方面的差異有關。另外，兩地戲劇教育研究員也從對話中找到可互相參考的全球在地化策略，做為未來亞洲國家發展戲劇教育在地化的借鏡。As a pedagogy for curriculum innovation, drama education was introduced to Taiwan and Hong Kong early childhood education in the period between 1980 and 1990. Previous studies have mostly focused on the use of drama education, but rarely looked into the localization of this western teaching mode from a socio-cultural perspective. Based on the theories of glocalization, this paper examined lesson samples from Taiwan and Hong Kong by visual ethnography to explore and describe the processes and modes of glocalization of drama education in the two regions. The results showed that with respect to the drama education approaches, curriculum positions and teaching methods, Taiwan implements drama education with a mixture of various approaches and views it as a child-centered, core practice, while Hong Kong uses it in a relatively homogeneous, peripheral and theatrical manner. This discrepancy mostly resulted from different colonization backgrounds, education policies, teacher trainings and ways of promoting drama education. In addition, through dialogues the researchers of drama education from these two regions have made reference to each other's strategies of glocalizing drama education, with which they may provide suggestions for the attempt to localize drama education in other Asian countries. Copyright © 2018 中華民國課程與教學學會.

Through the participation of local communities in the arts, Community‐Based Arts Education (CBAE) raises awareness of ecology and the environment, and also facilitates the search for and establishment of a socio‐cultural identity. It provides students with specific forms of experiential learning involving out‐of‐classroom experiences. Since 2003 the Education Bureau in Hong Kong has promoted learning arts in the community in an informal arts educational context. To suit the needs of CBAE, since 2011 the Leisure and Cultural Services Department has offered four successful community‐based arts educational schemes to local primary and secondary students. The aim of the schemes is to enrich students' knowledge of arts and culture and strengthen their capacities to learn arts appreciation and criticism. Between 2011 and 2013, over 30,000 primary and secondary students participated in the schemes. This article reports on a study of the schemes which aimed to identify key elements of good practice in CBAE from students' and teachers' perspectives. In this larges‐cale study, a total of 15,430 students between Primary 1 and Secondary 6 (age 6 to 17) and 1,306 teachers who participated in the schemes were invited to take part in surveys and focus group interviews. The results show that the three central tenets of self‐determination theory, namely, competence, autonomy and relatedness, are the key elements of good practice in CBAE. It is hoped that the research findings will enrich existing knowledge of and provide a new research direction for CBAE. Copyright © 2018 The Author.

The nature of liberal arts education merits renewed attention and consideration, especially in the context of the modern university in both Hong Kong and mainland China, where there is growing recognition that quality education standards should be improved, and an interdisciplinary approach to education and research is the way forward. The liberal arts spirit is an illustration of the power of inspiration and transformation, and through engaging with different perspectives, students are enabled and encouraged to pursue independent study, which boosts their creativity and critical thinking. As a catalyst and facilitator, liberal arts education that encompasses fresh global perspectives and connections has proved its worth over the years. However, since it is sometimes easy to lose sight of some of the fundamental principles essential to university education, we need to realize that too little interaction between science and the humanities has widened the two-culture divide, and the question is how to reconcile, or better still combine, the two. The two-culture debate, although suffering neglect for a long time in China, is of profound relevance and implications for the modern university. It can be observed that participatory interaction inherent in the dynamism of pedagogical engagement is increasingly promoted as the preferred mode of teaching students, who have benefited from broad-based learning as the embodiment of liberal education. Overcoming rigid disciplinary exclusiveness is positively correlated with empowering students with broad knowledge and skills to succeed in the future.
[Copyright of European Review is the property of Cambridge University Press. Full article may be available at the publisher's website:
http://dx.doi.org/10.1017/S1062798717000667]

Transmission of traditional art forms in the modern world has been a major issue in the field of arts education. Different issues have been raised on how to preserve the traditional art forms for further development. Cantonese opera is a representative Chinese opera popular in south China including Hong Kong. However, the genre has been experienced fluctuation since 1950s with the difficulties of transmission through oral tradition to conservatory tradition. While the Hong Kong Government promotes the genre to reserve the cultural tradition, great masters have been fading out and younger generation encounters difficulties in inheriting the genre. This article reports parts of a large-scale study on the nature and characteristics of oral tradition, learning in community settings, conservatory tradition, and proposes a model of transmission of Cantonese opera in Hong Kong. The model may shed light on preserving, inheriting, and further developing traditional performing arts in the modern world. Copyright © 2018 The Author(s).

The implementation of a school-based integrated curriculum enables schools to plan a balanced, flexible and coherent curriculum in order to reduce subject specification, especially in kindergartens. Despite kindergarten teachers in Hong Kong Special Administrative Region (SAR) being encouraged to integrate music content across subject areas, these boundaries still exist and prove challenging. This instrumental case study shows how one kindergarten teacher attempted to integrate other subjects into the music curriculum through movement and games, and encourage children's creativity. Eight detailed observations of music lessons and an interview with the kindergarten teacher depict her efforts at integration. Findings show that some progress was made and that the support of the principal was pivotal. They also suggest ways in which kindergarten teachers might begin to incorporate more creative integrated approaches to music education and have some applicability to other kindergarten settings where transmission approaches tend to dominate and teachers want to encourage music integration and children's musical creativity. Copyright © 2018 Cambridge University Press.

Responses from 309 randomly sampled Hong Kong primary school music teachers to the shortened version of the Chinese Teacher Stress Questionnaire were subjected to a descriptive percentage analysis, one-way ANOVA and independent t test. Obtained results identify five key stressors: "changing education policy of the government"; "being observed by colleague, student teachers, college tutors, inspectors or parents";"too much subject matter to teach"; "inclusive education"; and "additional administrative work". An explanation is offered identifying stressor responses being underpinned by either global or contextual issues, while others by a combination of both. Unlike other studies that found relations between stressors and respondents' individual characteristics, the results of this study uniquely display no significant statistical evidence to link music teachers' stressor response levels with age, teaching experience, education, specialization or teaching-related workload. The evidence here supports the view that stressors are neutral and reported stressor response levels reflect global or contextual factors which can be intensified by a combination of both.
[Copyright of International Journal of Music Education is the property of Sage Publications Ltd..]

The landscape of tertiary education has significantly changed in recent years with increasing pressure on universities to "globalize" and expand their reach internationally. In this context, there are a range of pedagogical and cultural issues to consider when designing curriculum to address the needs of students taking courses in different geographical locations. In addition to ensuring equivalence and quality, developing context-specific learning resources is a critical part of international delivery. Providing flexibility and autonomy to meet specific geocultural teaching and learning needs is vital. Programs and courses benefit from collaboration and connectivity between students and staff in all locations to ensure meaningful global learning environments. This paper focuses on a case study from an Australian University and examines how curriculum and delivery modes can be adapted to address the changing needs of transnational education a global context. The case study involves the renewal of a core undergraduate art history and theory subject that is offered in art and design programs across three different locations (Melbourne, Hong Kong and Vietnam). A series of learning materials and assessment tasks were designed to maximize a blended learning environment comprising face-to-face workshops, lectures, and online components. The result is a technology-enabled, common curriculum framework designed to allow for content to be adapted for local delivery.
[Copyright of International Journal of Education & the Arts is the property of International Journal of Education & the Arts]

PurposeThe purpose of this paper is to discuss nationalistic education in Hong Kong from a cultural perspective. It highlights the challenges faced by the Hong Kong Government and the growing antagonism and mistrust between the young generation and the government. The paper reviews the cultural policies adopted by the Western Zhou, Han and Tang dynasties in ancient China.Design/methodology/approachThis paper adopts a historical approach by reviewing the policies in music and culture in the Chinese history and argues for the adoption of a soft approach to nationalistic education in Hong Kong.FindingsResults show that being inclusive toward diverse cultures, trusting and valuing people's voices and accepting differences of opinion are effective policies that were adopted by the respective dynasties. The results shed light on the possibility of nurturing nationalism through education in music and culture.Research limitations/implicationsThe historical examples mentioned in this paper are only selected periods of the Chinese history. Thus, the survey could not be taken as a comprehensive review.Practical implicationsThis paper reviews the policies concerning music and culture in ancient China and argues for transferring the soft approach of predecessors toward these subjects as part of the nationalistic education of Hong Kong.Social implicationsThe results shown should be considered seriously by the Hong Kong Government as an effective substitute policy for the past stringent approach of implementing national education in Hong Kong. Nationalistic education focusing on music and culture is a common root for all Chinese and should be used in future to build up trust and common values between China and Hong Kong.Originality/valueThe originality of this research lies in its dealing with nationalism and national education, recommending a soft approach to education viewed through the prisms of music and culture.
[Copyright of Asian Education and Development Studies is the

為編製一冊以歷史人物為題材的讀本，供非華語讀者閱讀，製作團隊遇到巨大挑戰。本文報告部分製作經驗，並通過語料分析的檢測結果，探討有關中文二語閱讀材料的遣詞用字問題及其教學啟示。檢測發現：（1）一些表達政治、軍事、倫理和道德概念等的慣常用語，並不容易改寫或詮釋；（2）製作初期恐怕會太深太難的詞語，不少都在香港小學學生學習的字詞範圍之內；（3）漢字數量繁多，有些字形看起來大同小異，加上不同電腦字體的筆畫變異，可能困擾非華語學習者，值得正視。
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