Creative dance is one type of art forms, which is an international language for young children’s expression and exploration in their experienced world. However, creative dance has not been accepted in the Hong Kong official curriculum Guide to the Pre-primary Curriculum (The Curriculum Development Council, 2006). It is recommended that appropriate time allocation for half-day and full-day music activities are 45-60 and 60-105 mins respectively; only for Physical Fitness / Music / Arts activities. In fact, creative dance is the integral curriculum to enhance young children’s holistic development. The aims of this paper are three-fold. First, it examines the constraints on the development of preschool creative dance in Hong Kong. Secondly, it introduces an innovative Creative Dance Framework for early childhood curriculum in aesthetic education. Thirdly, it recommends the possible strategies on the development of creative dance in Hong Kong. The five major constraints include: Curriculum Guide, School Curriculum Policy, Curriculum and Resources, Professional Support, Teacher Education.

Moral education receives much attention in higher education and teacher education around the world. To nurture university students' (including pre-service teachers') moral values and moral awareness is one of the aims of higher education in Europe, America, mainland China and Hong Kong. However, their perceptions of learning moral education and the accompanying curriculum development are at present under-researched. This paper reports on a study aimed at exploring: (i) what are the university students' (and pre-service teachers') perceptions of the learning of moral and values education?; and (ii) how do they learn moral and values education in a curriculum and pedagogy course? This case study took place in an undergraduate class in Hong Kong. It adopted multiple methods to collect data and the results showed that the experience of values education curriculum planning enhanced the university students' learning of moral education. They learnt moral education through traditional and innovative ways, involving (i) discussion/sharing in moral dilemmas and circle time (as university students), and (ii) the related curriculum planning and teaching (as pre-service teachers). With reference to the study, this paper supplements the understanding of the curriculum development and learning of moral and values education in higher education in Hong Kong.

This session could be seen as the regional discussion of ISME Policy Commission in Asia. One of the missions in this commission is ‘to examine and explore issues concerning cultural, education and media policy development and implementation'. As a result, we have invited present and past commissioners, participants, as well as other researcher from various Asian regions to discuss the issue we have encounters pertaining to culture and policy in music education. In addition, other researchers who are interested in this issue are all welcome to join our discussion and commission. European music's autonomy and hegemony has been believed and taken for granted for at least a century, and this tradition based on Western aesthetics has exerted a great influence on music education in Korea, Taiwan, Hong Kong, Singapore and Japan. However, Asian music traditions differed fundamentally from the music tradition of the West. The European concept of tonality or key functions, for example, was absent from those Asian sound cultures. In this discussion, questions are asked about: 1. Introductions of Euro-American Music into Asian countries. 2. How traditional and folk music in Asia survives. 3. How music educators in Asia should deal with this duplicity. 4. How music educators in Asian develop music education policies for the future. Korea: (Korean traditional music has its name called “gugak,” which literally means ‘national music' but has been relative concept of ‘western music.') Compared to popularity of K-pop music, the number of listeners of gugak has been absurdly small. Music educators suggest that having students experience gugak in school education is the key for traditional music to survive and insist to raise the percentage of covering gugak in statutory curriculum. Although music teachers who are used to western music have difficulty to teach gugak, but the difference between western/ gugak has been the facilitation to broaden the concept of music and enrich the understanding

Music is the integral and core curriculum in early childhood education. It plays a very important role for children's holistic development. In Hong Kong, kindergarten teachers have adopted different approaches in the teaching of music. Among them, Carl Orff approach has been viewed as one of the most popular approaches. According to the Guide to the Pre-primary Curriculum (The Curriculum Development Council, 2006), the appropriate time allocation for half-day and full-day music activities are 45-60 and 60-105 mins respectively; including the physical fitness and arts activities. The aims of this paper are three-fold. Firstly, it examines the changes of the school-based Carl Orff curriculum as compared to that of in 2014. Secondly, it investigates the existing constraints on the curriculum reform in the kindergarten. Thirdly, the practical recommendations on the successful implementation of the school-based Carl Orff curriculum will be discussed. It is a qualitative Case Study with emphasis on collecting qualitative data from class observations, unstructured interviews with the music teacher and principal, unstructured conversation with students, video analysis and curriculum study. The analysis and recommendations will be conducted according to Schwab's (1973) four Commonplaces in Curriculum: Subject Matter, 60 Learner, Teacher, and Milieu. The five existing major constraints have been grouped into: curriculum design, teaching resources; facilities and equipment; professional support; teacher education and development.