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

The purpose of this study was to examine creative thinking and learning in arts-infused education by using the invention kit Makey Makey as a platform for Human-Centred Design Instrument (HCDI). Data were collected from 249 adolescents (n = 249) from a Hong Kong secondary school in a participatory design format. They were selected for the STEAM project, which is provided through the school curriculum to examine the level of attitude change towards creativity through the creation of human-centred musical instruments for different age cohorts, including children (aged 3–6), adults and elderly people (aged over 65). The research objectives were concerned with the development of collaborative creative thinking through an HCDI and with how students combined and transformed new knowledge for everyday application with meaning – a breakthrough in musical instrument design for human needs. Questionnaires, observation and interviews were conducted to examine the students’ level of creative thinking. Based on a modification of the creativity measurement framework from the Runco Ideational Behavior Scale (RIBS), a significant increase in the attitude change of students’ creativity was shown from the paired-sample t-test in the dimensions of originality, flexibility, fluency and elaboration through the STEAM project. Copyright © 2019 Springer Nature Switzerland AG.

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.