Teaching young people to understand and appreciate diversity is crucial in Hong Kong efforts for a just and inclusive multicultural society. History is the main place where the cultural identity and values of Hong Kong society have been reflected on, questioned, and problematized in the curriculum, as changes to this curriculum interface with larger social and political changes of the society. Although diversity is emphasized in Hong Kong history curricula, representations of ethnic minorities provided in education may not always be effective toward multicultural aims. This research explores how multicultural content is expressed in Hong Kong Chinese history textbooks. In particular, we focus on how relationships between Han and minority cultures are represented in the texts, using qualitative content analysis. Based on the analysis, we elaborate three main descriptive codes and themes: (1) only majority perspectives are provided, (2) cultural superiority of the dominant group (the Han), and (3) plural monoculturalism, where minority views are treated as threatened and/or as threatening in relation to the society as a whole. We argue that these codes are in contrast with a multicultural stance that aims to enhance social justice and equity in relation to diversity, through providing balanced perspectives, including positive ethnic minority recognition and support for just forms of pluralistic integration. Copyright © 2019 National Institute of Education, Singapore.

傳統或現代水墨在香港學校的視覺藝術教育中向來有待開發，站在地域上，香港自然是中西文化交融最成功地方之一，視覺藝術教育卻未正視此特質。雖然多年來偶有熱心水墨教育者申請基金舉辦活動，但正規中、小學課程仍然未能平衡中、西方藝術教育。文章通過行動研究探討在香港這特殊地理位置下，學校水墨教育可能應用的教學法。筆者在教學行動研究中加入現代和當代水墨的觀念元素和創作技法，並試以電腦方式加入草稿構想佈局，模仿傳統水墨中「搜盡奇峰打草稿」或臨摹不同古賢作品後重新結構自己作品方式－如謝赫「六法」中的「傳移模寫」後，自己重新構想「胸中幽壑」的方法。大量的電腦資料庫有助學生作構圖拼合（用 photoshop 軟件 )，省略了大量造型描摹時間，更易專注於用筆和墨韻的學習和練習。大會主題為「挑戰與轉化」，香港學校水墨畫教學應透過研究與時並進。除了考慮香港中、西文化交融的特質外，亦可以嘗試在傳統的創作媒介中結合現代主題和科技應用，讓年輕一代有機會通過學校視覺藝術教育接觸到中國傳統藝術，期望達致「轉化」學校視覺藝術教育長期忽略水墨畫教學的慣性和價值觀。 Copyright © 2020 Author(s). All rights reserved.

There is a lack of empirical research into group dialogue and questioning - the most basic component of teaching in art lessons. This study investigated the dialogues conducted by primary school visual arts teachers with their students. Eight teacher participants were observed and their teaching was examined against a theoretical framework constructed from a spectrum of dialogue and questioning strategies proposed by various theorists. From the observed dialogues, it was found that most teachers focused primarily on the observation and visual analysis of artworks. They also introduced some essential contextual knowledge to their students. However, interpretations of artworks were rather limited. Lastly, the development of students' personal connections with and judgment of artworks were ignored by most of the teachers. The study is particularly meaningful given the increased emphasis on learning art criticism in the new visual arts curriculum and amidst the latest cultural developments in Hong Kong. Copyright © 2019 Australian Institute of Art Education.

This article reports the results of a study that assesses the effectiveness of a Philosophy in Schools (PIS) programme in developing students' thinking skills and English competence in Hong Kong. In the study, training and support were provided for three Integrated Humanities (IH) teachers to enable them to teach PIS to their Secondary 3 English as a Second Language (ESL) students. The students were found to be capable of reasoning and arguing in a competent way about philosophical problems arising from various stimuli prepared by their teachers according to the IH curriculum. PIS was also found to play a major role in promoting the students' critical and creative thinking and to enhance the development of their English language proficiency to a significant extent. The findings of this study suggest that integrating philosophy into the IH curriculum can promote critical thinking, creative thinking and English language proficiency in ESL students. Copyright © 2020 University of Cambridge, Faculty of Education.

In the last 20 years, humane education (HE) has undergone a paradigm shift from a simple animal welfare education model to a teacher-led positive education approach that cultivates kindness, love, and empathy in children and youth. While teachers’ humane attitudes are considered a prerequisite for HE program success in school settings, their attitudes toward animals have received little attention to date. This study investigated pre-service teachers’ humane attitudes toward animals and assessed whether and to what extent these attitudes are correlated with empathetic tendencies as well as variables such as gender and current and previous pet ownership. A total of 226 pre-service teachers in Hong Kong completed the Animal Attitude Scale (AAS) and the Davis Interpersonal Reactivity Index (IRI). The results showed that pre-service teachers showed moderate concern for the humane treatment of animals, and a difference in humane attitude was identified based on sex: female pre-service teachers tended to express more humane attitudes than their male counterparts. Moreover, pre-service teachers with greater tendencies toward warmth and compassion demonstrated a more welfare-oriented attitude toward animals. The results of the current study support using HE as a positive education approach and imply that the provision of training for pre-service teachers and teachers should be given higher priority by humane educators. Humane educators are recommended to recruit pre-service teachers as HE program instructors in their research projects. Copyright © 2020 ISAZ.

The following study reflects and explores the dynamics of aesthetic experiences within drama improvisations. This arts-based research was carried out in Hong Kong with six Cantonese children who were aged 3-5 years. Data were collected from the video transcripts of five workshops and the researcher's own research journal. Two significant milieus were observed: switching in-between roles and intuitive creativity is not talkback. I argue that because each of these two milieus provide the foreground for the complex -- and at times contradictory -- nature of children's aesthetic experiences where Deleuzian power is at play, opportunities arise for both, challenging the traditional adult-child power relations, and in so doing, educators can be able to reconfigure and reconceptualise teaching goals and practices, both generally and specifically, within the context of early childhood education.
[Copyright of Journal of Early Childhood Research is the property of SAGE Publications.]