Schooling has been the main approach for transmitting knowledge and skills in both Eastern and Western cultures. The conservatory, for instance, has been the main cradle of great musicians. However, traditional folk arts in the East relied on apprenticeship using an oral approach for transmission. Applying Lave and Wenger's theory of legitimate peripheral participation as a theoretical framework, this article reports an interview study with five Cantonese opera artists in Hong Kong, all of whom have previously served and led apprenticeships. It was evident that the master artists took on limited numbers of apprentices for the purposes of transmitting personal artistry rather than monetary benefit. The master and the apprentice build up a quasi-parental relationship while the apprentice was regarded as a family member of the field. This study supplements the aforementioned theoretical framework with the Chinese cultural element of family ethics which may imply an application of apprenticeship in artistic and non-artistic transmissions through schooling.
[Copyright of Pedagogy, Culture & Society is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14681366.2014.922604]

This article summarizes prominent themes found in descriptions of school psychology programs in Estonia (Kikas, 2014), Greece (Hatzichristou & Polychroni, 2014), Hong Kong (Lam, 2014), Romania (Negovan & Dincă, 2014), Sweden (Schad, 2014), United Kingdom (Wood, 2014), and United States (Joyce & Rossen, 2014). This paper summarizes prominent issues found in these and companion descriptions (e.g., Jimerson, Oakland, & Farrell, 2007), with the goal to promote an understanding of prevailing conditions that impact preparation, including those that are external to as well as under the control of school psychology programs. These latter conditions include the academic and professional development components of preparation, including their emphasis on multicultural and international issues. Program content generally is consistent with that promulgated by the International School Psychology Association (e.g., Cunningham & Oakland, 1998) and as discussed more fully in The Handbook of International School Psychology (Jimerson, Oakland, & Farrell, 2007). Regional and national agencies external to psychology and school psychology together with alterations in program funding are exerting a strong and seemingly increasing impact on professional preparation programs in psychology. Knowledge of these and other prevailing conditions together with their impact on school psychology preparation and subsequent services is warranted. Stronger leadership from national, regional, and international associations of psychology and school psychology is needed to counterbalance the effects of external control that pose threats to the specialty.
[Copyright of International Journal of School & Educational Psychology is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/21683603.2014.934638]

The present study aimed at assessing Hong Kong young children's gains in creativity and their teachers' application of arts education after a one-year artists-teachers collaborative arts education project that involves various art forms (i.e. drama, visual arts and integrated). Participants included 790 young children, 217 parents and 65 teachers in seven kindergartens and nurseries. Measures included the Test for Creative Thinking-Drawing Production, Story-Telling Test (STT), the subscales of parent-rated creativity, communication and motivational characteristics, and the adapted Scale of Application of Arts in the Classroom. Among the three art forms, children in the visual arts group demonstrated highest gains in verbal creativity as evaluated by the STT. Based on parents' report, there were significant differences in children's communication characteristics across the three art forms. Significant differences across art forms were also found in teachers' confidence in teaching arts to 3-4 years old and their perception of arts for arts sake. Both teachers and students take advantage of the professional and artistic input and guidance of practising artists in arts appreciation and production. Implications and limitations were discussed.
[Copyright of Educational Psychology is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/01443410.2013.875518]

Why should bringing the power of music into student learning be a challenge - even more so when the class comprises students deemed in need of 'special education'? To address this question, three case studies are presented of Hong Kong special schools music teachers experienced in teaching students with intellectual disabilities at senior secondary level. Findings suggest that behind individual teacher variations to the standardised music curriculum lie not only rigid pedagogies, but also limited implementation strategies and hence mindsets of low expectations of 'special education' students' music learning. This predictive and prescriptive approach to student learning is here challenged by an alternative view that, to successfully aid 'special education' students, it is helpful if teachers reflect first on what learning is like for these students.
[Copyright of Music Education Research is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14613808.2014.906396]