Since the end of the 1980s in the NIE4 - Hong Kong, Taiwan, South Korea and Singapore - in Asia, progressive cultural and educational policies have developed along with tremendous economic growth, and a belief in the value of cultivating excellent human resources has provided the fertile ground to plant the seeds for Drama Education and Applied Theatre in schools and community settings. Drama Education and Applied Theatre projects have therefore been implemented in different ways and manners in different policy contexts and funding systems in the NIE4 either through government programmes or Non-governmental Organization (NGO) and civil organisations. They have developed in different directions as well as encountering different problems over 20 years. This essay aims to give a brief survey and investigation into these innovative imaginings and actions in the NIE4 and it ventures to present the issues and concerns that practitioners are seeking to ponder and solve. It also aims to explore the relationship between these praxes and the respective social, cultural and political changes in these areas and investigate the various responses and efficacy these praxes in Drama Education and Applied Theatre have done to their respective societies as well as investigate the challenges they posed to the existing social and educational orthodox ideologies.
[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/10.1080/13569783.2012.756182]

This paper aims at describing and explaining how drama pedagogy is appropriated in Chinese language classrooms in Hong Kong. Drawing on the theories of dialogue and appropriation of Mikhail Bakhtin, the research shows that the dialogicality of drama in Hong Kong's classrooms is conditional, and therefore deviant from the conventional as conceptualised and described in the major literature. A spectrum of the appropriation of drama pedagogy in language classrooms in Hong Kong is developed and discussed. At one end of the spectrum, there is still the domination of the teacher's monologic input of official knowledge and skills; at the other end, destabilisation of the centrality of the text and the authoritarian role of the teacher is identified suggesting alteration in the classroom communication routine, and even the opening of the drama world. This spectrum illustrates how the teachers waver between persisting with monologue and embracing dialogue, the result of which is the development of a hybrid approach to appropriate drama pedagogy.
[Copyright of Pedagogy, Culture & Society is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14681366.2010.505717]

Drawing on Mikhail Bakhtin's Carnival theory, this article focuses on specific outcomes of a research project the author undertook in Hong Kong, where drama pedagogy has been recently introduced into the official curriculum. It investigates the ways in which laughter, noise, jokes, frolic and popular literacies commonly appear in classrooms where teachers apply drama pedagogy. On considering the ways in which these phenomena remain unacknowledged and ignored by both teacher(s) and researcher( s), the author highlights the potentials of playful resistance and transgressivity afforded to students by drama pedagogy. The suggestion is that Carnival theory not only illuminates such phenomena but also challenges the emphases and assumptions of conventional epistemology and classroom discourse and offers a model to help us re-learn the unpredictability, plurality and openness to the production and distribution of knowledge that drama pedagogy can engender.
[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/10.1080/13569781003700078]