This article summarizes prominent themes found in descriptions of school psychology programs in Estonia (Kikas, 2014), Greece (Hatzichristou & Polychroni, 2014), Hong Kong (Lam, 2014), Romania (Negovan & Dincă, 2014), Sweden (Schad, 2014), United Kingdom (Wood, 2014), and United States (Joyce & Rossen, 2014). This paper summarizes prominent issues found in these and companion descriptions (e.g., Jimerson, Oakland, & Farrell, 2007), with the goal to promote an understanding of prevailing conditions that impact preparation, including those that are external to as well as under the control of school psychology programs. These latter conditions include the academic and professional development components of preparation, including their emphasis on multicultural and international issues. Program content generally is consistent with that promulgated by the International School Psychology Association (e.g., Cunningham & Oakland, 1998) and as discussed more fully in The Handbook of International School Psychology (Jimerson, Oakland, & Farrell, 2007). Regional and national agencies external to psychology and school psychology together with alterations in program funding are exerting a strong and seemingly increasing impact on professional preparation programs in psychology. Knowledge of these and other prevailing conditions together with their impact on school psychology preparation and subsequent services is warranted. Stronger leadership from national, regional, and international associations of psychology and school psychology is needed to counterbalance the effects of external control that pose threats to the specialty.
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http://dx.doi.org/10.1080/21683603.2014.934638]

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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