This paper reports the results of a qualitative multiple case study of the fieldwork experiences of secondary Four (Year 10) students of five schools in Hong Kong. The study was an experientially-based one which aimed at understanding the fieldwork experiences of students and what meanings they had derived from such experiences. For most schools, there was an overt academic orientation to the objectives of the fieldwork undertaken. However, the study has revealed that fieldwork is, in particular, emotionally engaged learning because of students’ desire to be out-of-the-classroom, their expectation of fun and excitement, their undertaking of physical challenges and the development of new social relationships in the field. Based on these findings, an integrated model of experiential learning in postulated. It shows that intellectual, social and emotional experiences are inextricably integrated in the field. Finally, this paper proposes a few practical guidelines for fieldwork based on the need to go beyond intellectual and instrumental learning to heuristic, experiential learning. Copyright © 2000 Australian Geography Teachers’ Association.

Recently, more educators have argued for the need to attend to both the cognitive and the affective aspects of fieldwork in geographical and environmental education. Experientially based studies are seen as particularly valuable in understanding the fieldwork experiences of both students and teachers and what meanings they have derived from such experience. This study is a qualitative case study of two geography field trips for Secondary Four (Year 10) students of mixed abilities in a Hong Kong School. The teachers, focusing on the affective outcomes of fieldwork, were determined to let students attain unusual and memorable experiences by undergoing adventurous activities. The results revealed that while most students generally felt excited and delighted over the challenge, a number of students decided to withdraw from the experience. Students of higher academic achievement appeared to be more critical. Their frustrations were often related to academic learning and the lack of a collective learning atmosphere on the trips. The experience was characterized by a tension of purpose between academic learning on one hand, and fun and excitement on the other. Copyright © 2000 The authors.

1990年代之後，香港因應主權回歸中國，教育局當局推動一系列的課程改革，其中最為受到矚目與關注點之一就是「價值教育」。首先，本文將從課程歷史文件中彙整香港價值教育的發展沿革，並討論價值教育在課程改革中的定位與角色；其次，本文也將檢視新一波課程改革如何重新修正價值教育理念與實施方向，討論價值教育改革的蛻變；最後，結合價值教育回顧後，從「課程設計理念」、「教學實踐」、「學習回饋」與「反思與批判」四個面向提出對於香港價值教育的反思。 Since the 1990s, because the sovereignty of Hong Kong has returned to China in 1997, the education authorities have promoted a series of curriculum reforms. One of the most particular attention was "values education". The primary purpose of this article is to reexamine the development of values education in Hong Kong based upon the context of curriculum reform. First of all, this article will shed light on the development of value education in Hong Kong on the basis of the analysis of curriculum documents, and also discuss the position and role of values education in curriculum reform. Secondly, this article will examine how the new curriculum reform will revise the concept and implementation direction of the values education, and discuss the transformation of values education. Finally, aligning with the reviews of values education, the reflection of the Hong Kong values education will focus on four aspects, including “the idea of curriculum design", "teaching practice", "learning feedback" and "reflection and criticism”. Copyright © 2018 香港教師中心.

生命教育及其相關領域，近年在香港中小學界，日益受到重視；另一方面，因各種原因，這兩三年學童自殺的個案有所上升，亦引起大家關注。我們喜見有學校嘗試探討生命教育一個比較困難的範疇：生死教育的課題。本文透過兩位學者與四位佛教小學老師的合作，闡述這所佛教小學推行生死教育的概念、起動、課程設計、同工對校本生死教育課程的反思，並作出相關的分析與討論。Life education and its related fields have been paid more and more attention in Hong Kong's primary and secondary schools in recent years. On the other hand, the number of suicide cases in these years has also increased due to various reasons. We are pleased to see some schools trying to explore a more difficult area of life education: life and death education. Through the cooperation of two scholars and four Buddhist primary school teachers, this paper expounds the concepts, launching, curriculum design and co-workers' reflection of school life and death education curriculum in this Buddhist primary school, and makes relevant analysis and discussion. Copyright © 2018 香港教師中心.

戲劇教育自1980到1990年代輸入臺灣和香港的幼兒教育，作為一個課程改革的方法，過去多數研究集中在教學的實踐，很少以社會文化對照的角度分析這個來自西方的教育模式在地化過程。本文以「全球在地化」的理論，運用視像人種誌的研究方法，透過臺港兩地教學案例，探索與描述兩地幼兒機構進行戲劇教育全球在地化的實踐。研究結果發現，在戲劇教育模式、課程定位及教學方法等面向，臺灣具有調和、主軸及兒童本位的特點，而香港則是單一、邊陲與劇藝的特性。究其因多半和社會文化背景、教育體制、教師培訓和戲劇教育推動方式等方面的差異有關。另外，兩地戲劇教育研究員也從對話中找到可互相參考的全球在地化策略，做為未來亞洲國家發展戲劇教育在地化的借鏡。As a pedagogy for curriculum innovation, drama education was introduced to Taiwan and Hong Kong early childhood education in the period between 1980 and 1990. Previous studies have mostly focused on the use of drama education, but rarely looked into the localization of this western teaching mode from a socio-cultural perspective. Based on the theories of glocalization, this paper examined lesson samples from Taiwan and Hong Kong by visual ethnography to explore and describe the processes and modes of glocalization of drama education in the two regions. The results showed that with respect to the drama education approaches, curriculum positions and teaching methods, Taiwan implements drama education with a mixture of various approaches and views it as a child-centered, core practice, while Hong Kong uses it in a relatively homogeneous, peripheral and theatrical manner. This discrepancy mostly resulted from different colonization backgrounds, education policies, teacher trainings and ways of promoting drama education. In addition, through dialogues the researchers of drama education from these two regions have made reference to each other's strategies of glocalizing drama education, with which they may provide suggestions for the attempt to localize drama education in other Asian countries. Copyright © 2018 中華民國課程與教學學會.

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.

The nature of liberal arts education merits renewed attention and consideration, especially in the context of the modern university in both Hong Kong and mainland China, where there is growing recognition that quality education standards should be improved, and an interdisciplinary approach to education and research is the way forward. The liberal arts spirit is an illustration of the power of inspiration and transformation, and through engaging with different perspectives, students are enabled and encouraged to pursue independent study, which boosts their creativity and critical thinking. As a catalyst and facilitator, liberal arts education that encompasses fresh global perspectives and connections has proved its worth over the years. However, since it is sometimes easy to lose sight of some of the fundamental principles essential to university education, we need to realize that too little interaction between science and the humanities has widened the two-culture divide, and the question is how to reconcile, or better still combine, the two. The two-culture debate, although suffering neglect for a long time in China, is of profound relevance and implications for the modern university. It can be observed that participatory interaction inherent in the dynamism of pedagogical engagement is increasingly promoted as the preferred mode of teaching students, who have benefited from broad-based learning as the embodiment of liberal education. Overcoming rigid disciplinary exclusiveness is positively correlated with empowering students with broad knowledge and skills to succeed in the future.
[Copyright of European Review is the property of Cambridge University Press. Full article may be available at the publisher's website:
http://dx.doi.org/10.1017/S1062798717000667]

Transmission of traditional art forms in the modern world has been a major issue in the field of arts education. Different issues have been raised on how to preserve the traditional art forms for further development. Cantonese opera is a representative Chinese opera popular in south China including Hong Kong. However, the genre has been experienced fluctuation since 1950s with the difficulties of transmission through oral tradition to conservatory tradition. While the Hong Kong Government promotes the genre to reserve the cultural tradition, great masters have been fading out and younger generation encounters difficulties in inheriting the genre. This article reports parts of a large-scale study on the nature and characteristics of oral tradition, learning in community settings, conservatory tradition, and proposes a model of transmission of Cantonese opera in Hong Kong. The model may shed light on preserving, inheriting, and further developing traditional performing arts in the modern world. Copyright © 2018 The Author(s).