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]

Museums have been employing theatre activities in their educational programmes to outreach youngsters for more than three decades all over the world since the late 1980s; however, it is still quite a new experience for eastern and south-eastern Asian countries. In the past 3 years, Hong Kong, Singapore and Taiwan started to use different forms of museum theatre in educational programmes to represent their multiple histories and cultural identities through various projects and showcases. Among these praxes, process drama have been most widely employed by teacher-facilitators for youngsters to reconstruct their own interpretations of historical events and narratives through chosen and rediscovered historical fragments, often neglected and even forgotten in the past. I argue that these process drama projects help the youngsters to reconstruct their own ever-changing cultural identities of these places which are under enormous change day by day in their current postcolonial and postmodern conditions. I also try to demonstrate how these praxes cross geographical, historical, ethnic and cultural as well as community borders to translate historical narratives buried in their heritage sites, ethnic community histories or aboriginal intangible cultural heritage such as tribal dances, songs and rituals into contemporary dramatic enquiry activities and performances. Why are they interested in these praxes almost at the same time lately? What are their goals in these projects? What cultural and social meanings do these praxes carry and sustain? What are the aesthetic strategies they use in these programmes and why do they choose them and how well do they work to achieve their goals? I would like to apply theories of museum theatre, process drama as well as postmodern aesthetics and educational theories and theories of post-colonialism to re-examine these praxes in their different cultural contexts to explore the above questions.
[Copyright of Research in Drama Education: The

Humanities includes a diverse range of disciplines in which little literature has explored in any depth the desired learning outcomes. This study was designed to articulate and illustrate learning outcomes in the humanities from students' voices and work. Undergraduate students in their final year, postgraduate students and recent alumni from the Faculty of Arts at a Hong Kong university were interviewed individually or in groups of three to four. They discussed their desired and actual learning outcomes in three areas: the overall university experience, studying in the humanities and their studies in their specific majors. The students' comments were grouped into 16 categories of description. Seventy-three pieces of student work were collected and matched to the 16 categories to illustrate students' perceptions. A common set of qualities was found in all the humanities programs. From the data, knowledge is the most valued by humanities students, followed by rational thinking. Accomplishment and self-direction are relatively less mentioned. Further discussion is presented on how and why humanities students value different qualities, based on students voices interfaced with some relevant literature. The findings have been helpful in bringing the student voice into internal discussions about outcomes-based approaches to teaching and learning and how these approaches relate to internal quality-assurance and curriculum-change processes.
[Copyright of Higher Education Research & Development is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/07294360.2010.542558 ]