For performing arts education, Sage on the stage and Learn from the Masters were halted by the COVID-19 pandemic, and so did everything else. All lectures, tutorials and other face-to-face skill-based training sections were cancelled and were replaced by the online model. Such a model was only seen as one of the supplementary components for performing arts education in the past. From January 2020, this online pedagogy was inevitably placed to surmount the challenges caused by the COVID-19 pandemic. The social distancing measures demanded the blended pedagogy into a new online approach, in which the traditional face-to-face teaching to be replaced by synchronous online learning (facilitated by technologies such as Zoom, Cisco Webex, Google Class, Panopto etc.). Meanwhile, to offer opportunities for cognitive participation which allows students to process the learning and be reflective, webinar and innovative performance projects were launched from the concept of ‘flipped classroom and outcome-based education.’ This mixed approach (blended learning, flipped classroom, and outcome-based education) is described as ‘hybrid learning’ in this study.The ‘hybrid learning’ pedagogy is implemented at the Hong Kong Academy for Performing Arts (HKAPA) for all teaching activities in the 2nd semester 2020/2021 to overcome the challenges caused by the COVID-19 pandemic. A questionnaire survey about how it affected the performing arts education, and how the new pedagogy was implemented took place in July 2020. The survey results from both the teachers (76) and students (163) share lessons, insights, and new understandings on teaching and learning online. Hybrid learning has been widely investigated and researched, yet study on hybrid learning in performing arts such as creative art, theatre art and music, remains insufficient. This study fills the research gap. Copyright © 2021 Springer Nature B.V.

Museums have been employing theatre activities in their educational programmes to outreach youngsters for more than three decades all over the world since the late 1980s; however, it is still quite a new experience for eastern and south-eastern Asian countries. In the past 3 years, Hong Kong, Singapore and Taiwan started to use different forms of museum theatre in educational programmes to represent their multiple histories and cultural identities through various projects and showcases. Among these praxes, process drama have been most widely employed by teacher-facilitators for youngsters to reconstruct their own interpretations of historical events and narratives through chosen and rediscovered historical fragments, often neglected and even forgotten in the past. I argue that these process drama projects help the youngsters to reconstruct their own ever-changing cultural identities of these places which are under enormous change day by day in their current postcolonial and postmodern conditions. I also try to demonstrate how these praxes cross geographical, historical, ethnic and cultural as well as community borders to translate historical narratives buried in their heritage sites, ethnic community histories or aboriginal intangible cultural heritage such as tribal dances, songs and rituals into contemporary dramatic enquiry activities and performances. Why are they interested in these praxes almost at the same time lately? What are their goals in these projects? What cultural and social meanings do these praxes carry and sustain? What are the aesthetic strategies they use in these programmes and why do they choose them and how well do they work to achieve their goals? I would like to apply theories of museum theatre, process drama as well as postmodern aesthetics and educational theories and theories of post-colonialism to re-examine these praxes in their different cultural contexts to explore the above questions.
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