Three key publications from September 2000 point to rapid changes in the educational and arts environment in Hong Kong that will impact on the development of dance education. This paper provides some contextual details on the current state of dance education in Hong Kong and also examines the influence and possible ramifications implicit within these publications. A brief outline of the prevailing scope of professional activity is also provided. The necessity for teacher training to facilitate change is then discussed. [ABSTRACT FROM AUTHOR]; Copyright of Research in Dance Education is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.
[Copyright of Research in Dance Education is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14647890220129131]

The author points out that the practice of art assessment has been a complex task for many art teachers and educators since the past decades, and that, to make improvement in the examination, in general, more than half of the art teachers accepted the assessment of art knowledge and art history in addition to practical examination. From literature review, as the author reported, it is also found that the assessment of students' portfolios was considered a more reliable and objective assessment strategy which helped relieve the pressure of examination. The author concludes that such initiatives would bring about significant changes in the future development of curriculum planning and pedagogy design in Art and Design education.

由於香港的教育制度偏向中央集權式的課程決策，作者乃探討香港課程發展的機制，然後再報導香港美術課程發展的現況。

The author reports the findings of a study that examines the nature of the music curriculum and the role of music teachers in Hong Kong's secondary schools. Initially, the study provides a brief examination of the intentions of the official music curriculum as promulgated by the Hong Kong Government, and then explores music teachers' attitudes towards its various components, i.e., goals, content, pedagogies, and assessment practices. The core of the study involves the identification of the pedagogic approach(es) being employed in music classrooms, as well as an analysis of the rationale teachers provided for adopting those approach(es).

The main purpose of the author's study was to investigate the status and practices in the music curriculum of Hong Kong elementary and secondary schools. Issues were addressed and recommendations made. The survey was conducted in 1988. It reported a sampling of 289 music teachers' responses regarding their educational background, attitudes towards music teaching, and subject matter of their music programme. Their views on the current situation and the future direction of music education in Hong Kong were also considered.