This paper reports a case study of teaching Cantonese to Hong Kong ethnic minority pre-schoolers using process drama. Based on Deleuzo-Guattarian concepts of minor literature and language, becoming and de-/re-territorialisation, this paper aims to reconceptualise a playful adaptation of process drama developed by Joe Winston (Citation2012) as a language-minoritising approach to the teaching and learning of a major language that is very foreign to children. The findings suggest that, to accomplish ethnic minority children’s becoming Cantonese speakers, the theatre games and language play should involve minoritorisation and de-/re-territorialisation of the normative practices of process drama, the target language as well as learner identity. Copyright © 2023 Pedagogy, Culture & Society.

This study aims to conceptualise a drama-integrated curriculum devised from process drama as an approach to play-based pedagogy and curriculum to realise the policy initiative of learning through play. By investigating teachers’ perspectives and practices in relation to the curriculum of a local kindergarten, examples of effective drama-integration strategies and the associated children's learning are identified and organised into four themes – namely, drama teaching and learning through, before, in and after play. The teachers understood that although their curriculum is not based on free play, its not-so-free features may reconcile the play–learning binarism, daring them to navigate the maze of complex relationships between play, drama, teaching and learning in implementing a playful curriculum. Copyright © 2021 The Author(s).

This response to COVID-19 introduces a Hong Kong drama education project that aims to support teachers' and children's return to school after the easing of COVID-19 pandemic. A pilot workshop has been conducted to explore and evaluate the approach of the project and to identify the needs of the teachers under the pandemic. Preliminary observations show that the integrated use of play, process drama and integrated arts education can enhance the teachers' resilience in a crisis situation. Apart from providing them with timely, practical and multi-pronged pedagogical support, the workshop methodology also promotes their personal wellbeing. Copyright © 2020 Informa UK Limited, trading as Taylor & Francis Group.

「繪本融合習式方法」為香港幼兒教育日漸普及的一種教育戲劇的教學方式。本文根據讀者回應理論，建立「創意空隙」（creative gaps）的概念框架，提出六種不同面向及程度的創意空隙，以評估教學案中能給予幼兒重新想像、探索和重述故事的機會與可能性。作者提出，教師在設計教案時，應發掘繪本的創意空隙，以選配和編排適當的戲劇習式。本文藉研究幼兒教師與戲劇導師共同設計的20個教案，探討這模式在香港的實踐狀況。結果顯示，教學設計雖未能完全擺脫文本的束縛以開放地讓幼兒參與，但當中的創意空隙能引導幼兒進行多方面故事探索和重新想像。不過，以現實生活經驗來重創故事，討論當中的品德情意與社會議題的表現，卻未見顯著。本研究建議師資訓練多強調有關繪本和創意空隙的分析與應用的知識和技巧。The use of Conventions Approach with picture books has become a popular teaching mode of Drama-in-Education in the early childhood education in Hong Kong. Drawing on the reader-response theories, the author constructs a conceptual framework called ＂creative gaps.＂ This framework includes six aspects and gradations of creative gaps which aims to evaluate the opportunities and possibilities given to children to re-imagine, explore and retell the story in a drama lesson. The author argues that teachers should identify the creative gaps of the picture book when assigning and arranging appropriate drama conventions to teach. Through analyzing 20 teaching plans co-written by preschool teachers and drama artists, the author examines the practice of this drama teaching approach collected from eight preschools in Hong Kong. The results reveal that although the teachers could not totally break through the confinement of the original text for open participation, the creative gaps identified in their teaching plans could support young children to re-imagine and explore the story in various ways. Still, attempts were made to facilitate the children to re-create the story through everyday experiences and to discuss the social and moral messages in the story. In the end, the author suggests that teacher training should put more emphasis on the knowledge and skills about analyzing and applying picture books and creative gaps. Copyright © 2017 Author.

The rationale for this study is that students' views on their own learning play an integral part in their educational journeys. Students' voice has been gaining recognition as a vehicle for cultivating ownership of learning, restoring classroom dialogue, and developing strategies for school improvement. These benefits echo the pedagogical purposes of drama education. This study examines how a group of primary students in Hong Kong relate drama pedagogy to their learning in two curriculum subjects: Chinese Language and General Studies. Working with a group of primary students introduced to drama as a medium of learning for the first time, the researcher seeks to find out what aspects of the drama programme is seen by the students as pertinent to their learning in these subjects. The students generally found the Process Drama units more closely related to the learning in General Studies than Chinese Language. Factors influencing their views include the learning focus of the Process Drama work, students' beliefs about learning in these two school subjects, and the pedagogical approaches previously adopted in their school.
[Copyright of Research in Drama Education: The Journal of Applied Theatre and Performance is the property of Routledge. Full article may be available at the publisher's website: http://dx.doi.org/10.1080/13569780902868770]