Hong Kong's cultural policy envisions its citizens living lives celebrated by cultural pursuit, their Chinese-grounded identity enriched by other cultures. Meanwhile, its education policy is a commitment aimed at ensuring that all students are fully prepared to meet the work and life challenges of the future. The two meet via arts education, defined as arts and cultural education and formally recognised as fostering the necessary skills of appreciation, creativity and expression, thereby enabling the cultural literacy of individuals and society to flourish. Supported through policy documents by the relevant bodies, notions of cultural diversity within Hong Kong arts education are addressed and encouraged primarily via the creation and nurturing of partnerships, among the stated emphases being the reinforcement of the existing arts curricula and the establishment of cultural and artistic links between schools and the wider community. Prominent examples include the School Culture Day Scheme, the Arts Experience Scheme for Senior Secondary Students and the Arts Ambassadors-in-School Scheme. However, policy is as much about what is enacted as what is intended. Given the similarity of their rationales, of increasing interest to researchers is the potential for cultural and arts education policies to synergise in ways that can result in the accrual of mutual benefits among the different stakeholders, in turn enabling issues such as cultural participation and consumption, as well as accessibility to cultural education, to be more effectively addressed. This chapter examines the case of Hong Kong in order to reveal the extent to which an arts education policy that suggests possibilities for implementation—as opposed to stating a mandatory approach—is both conceptualised and communicated by its policymakers, together with investigating ways that the arts curriculum is being operationalised by those tasked with its delivery. To this end, the focus is on a series of collaborative

Hong Kong has publicly declared its intention, via its cultural policy, of becoming an international cultural metropolis. This has been matched, on the part of its educational reforms, by a commitment aimed at ensuring that students are fully prepared to meet the multifarious work and life challenges of the future. Forming a potential bridge between the two sectors is arts education, formally recognised as fostering the necessary skills of appreciation, creativity and expression and of enriching the cultural literacy of individuals and society, thereby providing the soil, nutrition and impetus for cultural development. This study adopted the analogy of cultural policy and arts education policy as the two wings of the same bird which, when working in unison, have the power to yield rewards at both a sectoral and at a stakeholder level through the occurrence of mutually-beneficial synergies, in order to investigate the degree to which this was presently taking place. Via an ecological research perspective characterised by a focus on the layers of interconnectedness and interrelatedness among the various stakeholders within and across Hong Kong’s cultural and arts education sectors, the methodology drew on the salient features of both the “ecological worldview” and the “interdisciplinary and transdisciplinary” types to more fully understand perceptions as they related to the policies’ fundamental elements of “conceptualisation”, “communication” and “operationalisation”. As a means of answering the three research questions guiding the study, the data gathering and analysis stage was concerned with the collection of the relevant policy documentation, an online cultural and arts education policy questionnaire, and a series of semi-structured, in-depth interviews. The findings revealed that while evidence exists of a variety of intra- and inter-sectoral partnerships, this is not being matched by a strategic vision at a policymaking level that clearly demonstrates how such collaborations

A fundamental objective of Hong Kong in the 21st century is a vision of itself as an international cultural metropolis. This sits within a wider culture of change initiated by the comprehensive educational reforms launched in 2000, all aimed at preparing the future workforce for the challenges of the new millennium by encouraging students to take the learning initiative while simultaneously nurturing in them the ability to think and create. At the same time Hong Kong, at both an educational and at a wider, societal level, is a high-stakes, results-based environment generated by a culture of assessment. It is within this context that the article uses Music (through its traditional espousal of cultural values) as a "barometer" of the present climate to report the findings of a survey of Hong Kong secondary students in an attempt to gauge, and consequently articulate, the place of this particular subject within the curriculum. The subsequent confirmation that the cultural aims of the HKSAR are at odds with a mindset which is essentially commercial at heart reveals more than a simple mismatch in 2 terms of drivers: the wider implication that, in real terms, little has effectively changed in the past decade is a finding which clearly has important repercussions. Hinting that a "back to basics" tripartite process of rethinking, reevaluation and reorientation may well be required in order to help ensure that Hong Kong successfully realizes its ongoing policy goals, the article concludes with some suggestions of its own for the various relevant stakeholders.
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