Civic education is considered as a way to nurture good citizens who work to develop the polity. However, in real politics, education often mirrors instead of shaping the political development. Reviewing civic education of Hong Kong from a historical development perspective, this article explains that civic education has for long been used a tool of governance by the political regimes. This was true not only during the days of colonial rule but is also that after the reversion of sovereignty in 1997. Manipulating civic education as a tool of governance can have far-reaching consequence. In the case of Hong Kong’s civic education, the problems due to neglect, deliberate suppression, and twisting around in different historical phases created the problem for the future. Hong Kong’s civic education is now stuck in a quagmire, and preparing young people to face the sociopolitical challenges becomes increasingly difficult. Finally, this article makes suggestions for reforming civic education in Hong Kong. To conduct this study, a mixed methodology was adopted which comprised both literature review and qualitative interviews with civic education teachers and teachers of the subject Liberal Studies. Selective discourses of the teachers are reported to inform the understanding of the discussion.
[Copyright © 2016 The Author(s).]

This paper aims to the analysis of civic education policy of the two governments of Hong Kong, the British Colony before 1997 and the Chinese Special Administrative Region after 1997. Hong Kong people own questionable identities, neither British citizens nor Chinese subjects. Basically, the decolonization showed that the policy of domestication was implemented during the transition period of Hong Kong where the government patronized and empowered the Hong Kong people through enhancing human rights and developing political democratization. After handing over of sovereignty, the education policy made the contents of civic education more patriotic, cultural hegemonic and national ideological. The intentions were quite obviously presented in policy documents and responded in the historical contexts. The historical comparison intends to get the expandable interpretation of the scenario of education policy in this period of Hong Kong.
[Coryright © 2014 David Publishing Company.]

本文爲一項有關高中生在考試情境下以文字回應藝術作品的研究報告。本研究根據95名參與「香港中學文憑」模擬考試學生的成績，選出6位高分級別以及6位低分級別的學生作爲研究對象。透過分析學生的答題表現及晤談記錄，研究者審視學生建構藝術評論的方法，並探討形成其表現差異的原因。研究發現高分的學生能夠將作品描述與藝術知識、仔細觀察、情境資訊、個人評價及其它科目知識作出聯繫，並提出較多及較合理的理由和證據支持其對作品的詮釋。研究建議教師應平衡對作品的形式和情境分析以及幫助學生發現作品與其他作品、文化以及個人生活與知識之間的連繫。此外，研究亦建議透過課堂活動和展覽，實踐以藝術探究和評論的方式來提升學生批判藝術的能力。
[Copyright © 2010 藝術教育研究顧問委員會.]

本文闡述香港時下的幼兒教育所推行的兩種隸屬南轅北轍哲理的品德教育及其推行目的。香港自 2006 年推行教育改革以來，便以統整、非正規形式的品德教育配合以兒童為中心的課程而行。這種品德教育模式源於十六世紀往後的西方社會，它強調人際關係 道德的感覺、心理的需要、對道德的判斷及公民主義等﹔有別於這種教養孩童的品德教育模式，是東方社會建基於孔子及/或基督宗教的品德教育。本文會透過所搜集到的事例介紹本地幼教老師在推行品德教育時，如何將東方的哲理價值觀混入西方的理念而衍生在幼兒品德學習上的果效。

Drawing on Bakhtin’s notion of creative understanding, this paper aims to investigate children’s creative learning of drama education in a group of preschoolers aged 4–5 in a Hong Kong kindergarten. The research was designed originally to offer a case study to identify the emergence of creative learning during and after drama lessons, and investigate its relation to teaching. The field observations, however, noticed the contrary effect brought by a product-oriented and a teacher-centred approach of teaching. These approaches had strongly undermined the stimulus to imaginative and playful participation that drama education is able to generate purportedly. Not only had they restricted dialogic encounters in the lessons but also the feasibility of identifying children’s creative response emerging from within. These observations led to a shift of the study focus to the method and data of draw-and-tell, which was used to enable children to creatively re-imagine and retell their drama experiences as a concluding reflection. The findings were analysed in three categories, namely Characterization, Re-conceptualization and Transformation to illustrate children’s capacity and techniques of restorying drama experiences with their interest, knowledge, language and culture. The research process as well as the results of the study reveal a complex interplay between teaching, learning and researching affirming that a particular type of creative learning of drama education is not only shaped by a particular form of teaching, but also the research method.
[Copyright © 2016 Published by Elsevier B.V.]