Art educators claim that Visual Culture Art Education (VCAE) can facilitate students' critical thinking skills and creativity. This article explores a study conducted in Hong Kong senior secondary schools that analysed the extent to which VCAE promotes creativity and critical thinking skills using both quantitative and qualitative approaches. The discussion identifies the ways that VCAE students made connections between their everyday life experiences, social lives, and culture and in the process developed their creativity and critical thinking skills. Copyright © 2021 Art Education Australia.

The meanings and value of the arts and their impact on students’ learning have long been main areas of focus in arts education research. In Hong Kong, there are only a few studies discussing the impact of performing arts education on students’ learning, which leaves a gap in the overall understanding of performing arts education. This article reports on a study of performing arts education in Hong Kong. The participants of the study are students, teachers, principals and arts groups. A total of 28 focus group interviews were conducted with participants recruited from 25 primary schools, 26 secondary schools, one international school, nine tertiary institutions, five special schools and 20 arts groups. Although this study confirms the claims made by arts educators that performing arts education can promote students’ awareness of creative and critical thinking skills, change their behavior and attitudes, increase their socio-cultural awareness and benefit their all-round development, the stakeholders had different interpretations of the meaning and value of performing arts education. There appears to be a gap between arts groups and schools in the understanding of the fundamental purposes of performing arts education and the role that it should play in the school context. Copyright © 2022 Taylor & Francis Group, LLC.

Through the participation of local communities in the arts, Community‐Based Arts Education (CBAE) raises awareness of ecology and the environment, and also facilitates the search for and establishment of a socio‐cultural identity. It provides students with specific forms of experiential learning involving out‐of‐classroom experiences. Since 2003 the Education Bureau in Hong Kong has promoted learning arts in the community in an informal arts educational context. To suit the needs of CBAE, since 2011 the Leisure and Cultural Services Department has offered four successful community‐based arts educational schemes to local primary and secondary students. The aim of the schemes is to enrich students' knowledge of arts and culture and strengthen their capacities to learn arts appreciation and criticism. Between 2011 and 2013, over 30,000 primary and secondary students participated in the schemes. This article reports on a study of the schemes which aimed to identify key elements of good practice in CBAE from students' and teachers' perspectives. In this larges‐cale study, a total of 15,430 students between Primary 1 and Secondary 6 (age 6 to 17) and 1,306 teachers who participated in the schemes were invited to take part in surveys and focus group interviews. The results show that the three central tenets of self‐determination theory, namely, competence, autonomy and relatedness, are the key elements of good practice in CBAE. It is hoped that the research findings will enrich existing knowledge of and provide a new research direction for CBAE. Copyright © 2018 The Author.

Art education in Hong Kong has undergone various changes in response to educational reform. In art assessment, a major change in the Hong Kong New Senior Secondary (NSS) Curriculum is the inclusion of art criticism as a compulsory component of the new public examination. Assessing students’ abilities to interpret art in an art criticism public examination context is a critical issue in Hong Kong because the new senior secondary curriculum and assessment has brought attention to the role of written language in the art examination paper. This means the examination assesses not only students’ abilities to interpret art, but also their language abilities required to respond to art in written form. Since this new mode of assessment of art criticism has been published a number of issues have appeared. Recent studies show that teachers and students perceive this development negatively and they believe that the written format will assess students’ written language abilities rather than their critical abilities. These findings challenge the justification of the new art assessment policy and raise questions about the role of written language in responding to art. This article aims to raise the issue of the marriage between language and art criticism in the Hong Kong public examination context. It argues and examines the relationship of language to art interpretation, reasoning in the assessment, and issues in the public art criticism examination context. The issues addressed in this article provide opportunities for researchers and policy makers to reconsider and refine the new form of examination.
[Copyright © 2017 The Author. Ijade © 2017 NSEAD/John Wiley & Sons Ltd.]

This paper reports the findings from a study of understanding images of popular visual culture created by young adolescents in a Hong Kong school context. It adopted a phenomenological case study method to investigate the images created by eight students from a secondary school, in which students participated in a manga creation program. The study suggested a matrix for the investigation that stressed investigating the meaning of the images young adolescents create through their art creation experiences, the reasons for creating images in the particular way, and the way of interpreting their creation process. The study found that there were two types of aesthetics in the image of popular visual culture affecting young adolescents’ image creation: the stereotyped aesthetics and the counter-stereotyped aesthetics. They not only affected young adolescents’ artistic representations, but they also influenced the representation forms of the images of both sexes. Besides, they revealed a psycho-cognitive learning process for self-transformation. Each had its specific functions and meanings contributing to understanding images. The matrix demonstrated a self-actualised and self-autonomous ecological system formulated by the socio-cultural context and individual real world problems, in which young adolescents sought solutions to their real world problems through being sophisticated in drawing skills and techniques.