Fanny Chung

Palgrave MacMillan (Springer Nature). 249 pages.

[Scopus-indexed]

This book provides critical insights into the interplay of sociocultural change and educational practices by elucidating the trajectory of Hong Kong’s early childhood music education system. It presents an extensive analysis of postcolonial music education in relation to globalization, westernization, cosmopolitanism, and nationalization. It makes contributions to the theoretical arguments that can be used to interpret the impact of China on the previously Western orientation of education in Hong Kong. This book also explicitly problematizes the theoretical foundations of mandated policies such as play-based learning and moral education in early childhood through music in Hong Kong and across the globe. The analysis of historical context, political influences, and education ideologies in Hong Kong’s early childhood education subsystem provides fertile ground for a thorough understanding of the meaning and implications of globalization in education at multiple levels. Many empirical-based discussions in this book reflect the ideologies, trends, and practices of music education globally. Framed by Bandura’s social cognitive theory, the empirical studies discussed in the book explore the self-efficacy and practices of education leaders and teachers, reflecting the contemporary challenges of music education. Ultimately, it makes a vital contribution by offering a new conceptual model of music teacher education within a globally resonant framework.

Chung Hwa Book Publisher. 248 pages.

In January 2020, the World Health Organization officially declared the 2019 novel coronavirus (COVID-19) a major global public health crisis. Undoubtedly, the COVID-19 outbreak has presented unprecedented challenges to the Cantonese opera industry. Similar to many parts of the world, performance venues in Hong Kong had to be closed for an extended period, and performances were suspended because of various epidemic prevention measures. Consequently, many veteran Cantonese opera practitioners have said that COVID-19 has been the most disastrous period in the history of Hong Kong’s Cantonese opera industry. Embracing an extensive study that has spanned almost three years amidst the COVID-19 pandemic outbreak, this book offers an in-depth and comprehensive examination of the experiences and impact of the pandemic on the Cantonese opera industry. This study incorporates an extensive document analysis, in-depth interviews, and field visits to triangulate various sources of data. By capturing the first-hand narratives of industry practitioners, this book aims to understand the pandemic’s impact on different stakeholders within the Cantonese opera industry. Through this publication, I intend to make a meaningful contribution to the history of Cantonese opera, provide insights into its future inheritance and development, and raise public awareness of the significance of Cantonese opera transmission and its value as an ICH.

Scholarly reviews:

International Journal of Heritage Studies.

[Top 1% 18/1760 in Scopus; SJR Q1; SSCI; AHCI]

Globalised technological advancements have radically transformed how intangible cultural heritage (ICH) is inherited in contemporary society. Despite being recognised as a Human ICH by the United Nations Educational, Scientific, and Cultural Organisation, Cantonese opera is facing existential crises attributed to an ageing demographic and shrinking audience base. To survive in a rapidly changing sociocultural landscape, Cantonese opera performances in Hong Kong have embraced modern technologies, including artificial intelligence, holographic projection, and virtual reality. By exploring the perspectives of 86 Cantonese opera practitioners, this study critically examines the perceptions, experiences, and challenges associated with technology adoption as a safeguarding strategy for ICH transmission. This study revealed the complex interplay between technology use and cultural transmission, adding to heritage literature by shedding new light on audience reach, content enhancement, value creation, and funding strategies in the context of technology adoption, and the corresponding negotiation of tradition and modernity within ICH communities. The findings emphasise the importance of preserving traditional core values, identity, and artistry inherent in the performing arts of ICH, even as technology adoption becomes radically widespread, shedding light on a cautious integration of technology in ICH in this technology-focussed era.

Cogent Education (Routledge)

[Scopus-indexed]

Schools have been considered crucial social contexts for character formation. Hong Kong’s recent education policy has put moral and character education on the agenda of early childhood education (ECE); it states that moral and character education should be integrated into the major kindergarten subjects. However, questions remain on how it should be integrated into the ECE subject areas. Music has been officially identified as part of kindergartens’ daily activities. Scholarship has established the inextricable interconnection between character development and music participation. This study aims to explore subject-based implementation of the moral education through the lens of musical instructions. Literature confirms school leaders’ impact on shaping the implementation of policy, hence, school leaders’ perceptions and challenges regarding the implementation of this newly emphasized policy was explored through semi-structured interviews with 12 purposively selected principals. The results reveal that the principals valued using music education to teach children about morals and ethics, but found that they faced hurdles in the implementation, e.g. teachers’ insufficient pedagogical content knowledge and parents’ attitude. This study identifies traditionalism as the most prevailing view in kindergarten principals’ conceptualizations of moral education. Musical activities for moral education that principals support are play-based but adult-guided.

In K.S. Shum (Ed.), Barwo’s 70th Anniversary Publication (pp. 78-81). Hong Kong Chinese Artists Association.

The Barwo Club (八和會館) in China has been a professional Cantonese opera guild since its inception more than 130 years ago, during the reign of Emperor Guangxu of the Qing dynasty. Its Hong Kong branch, the Chinese Artists Association of Hong Kong (CAAHK; 香港八和會館; otherwise known as Barwo) was established in 1953. The missions of the CAAHK are to affirm and protect the viability of Cantonese Opera in Hong Kong, deepen the maintenance of conventional practice and expand its outreach, and ensure that Cantonese Opera in Hong Kong remains “a living heritage”.

Using the CAAHK as a case study, this paper explores the role of Chinese guilds in times of heritage preservation crises. The study revealed that during the pandemic, Chinese guild not only provided practical support (e.g. coordination of subsidy from the government), but also played a crucial role in uniting the industry. The findings coincide with international studies that indicate peer rapport is a key factor in the recovery of an industry from traumatic crises.

International Journal of Heritage Studies (Routledge), 28 (10), 1091-1106. [Top 1% 18/1760 in Scopus; SJR Q1; SSCI; AHCI]

Cantonese opera was inscribed as a Human Intangible Cultural Heritage by UNESCO in 2009. The closure of world heritage properties and performance venues due to the global pandemic has resulted in a global employment crisis and the subsequent departure of many seasoned Cantonese opera artists, inarguably threatening the sustainability of cultural heritage development and disrupting the transmission process. This paper investigates the intertwined relationship between transmission, traumatic crisis, and cultural heritage professionals (CHPs) through the lens of 56 Cantonese opera artists in Hong Kong. Utilising the transactional theory of stress and coping, this paper critically examines the role, psychological responses, and subsequent actions of Cantonese opera artists amid traumatic crisis. The findings contribute to the scholarship on cultural transmission by documenting the impact of social mobilisation, paradigm shifts on tradition, career crisis, vocational behavioural changes, and digital transformation on safeguarding intangible cultural heritage amid trauma. This paper argues that positive coping is related to post-traumatic growth and industrial transformation, highlighting the urgency for Hong Kong and the world to develop preparedness for a road map of cultural heritage transmission to coexist with the pandemic or other traumatic crises in this age of global challenges.

Springer-Fudan Journal of the Humanities and Social Sciences (Springer Germany), 14, 393-415.

[SJR Q1]

This study explores the controversy surrounding the translation of the name of a new cultural infrastructure in Hong Kong, specifically related to the cultural heritage of traditional Chinese theatre. The first performing arts landmark in Hong Kong’s West Kowloon Cultural District was named the Xiqu Centre; the term xiqu is a Hanyu pinyin representing traditional Chinese theatre. Though this translation issue has been intensely debated for over a decade, it remains unexplored in the research. With reference to Venuti’s translation strategies of foreignization and domestication, this study examines the Hong Kong public’s views on the translation of the name of this cultural landmark and the underlying drivers of their perceptions. It uses internet-based surveys, semi-structured interviews with the public, and interviews with experts as data sources. The results revealed that factors of (1) aesthetics and artistry, (2) cultural identity, and (3) publicity and internationalization have contributed to public perception. This study’s findings shed new light on how translation interacts with cultural, social, and political factors by examining how Hong Kong’s unique historical relationship with China and the West has played a role in this translation issue. The findings have significant implications for the translation of culture-bound elements and the transmission of cultural heritage in Hong Kong and worldwide.

Asia-Pacific Journal of Research in Early Childhood Education, 15 (2), 63-86. [Scopus-indexed]

Previous studies have suggested that teacher education plays a crucial role in developing pedagogical knowledge and enthusiasm in teaching music. Based on Bandura’s (1977) self-efficacy framework, this study sought to investigate the impact of music teacher education program on self-perceived confidence and competence of 32 in-service early childhood teachers. Adopting a mixed methods approach, the Music Teaching Self-Efficacy Survey (MTSES) was the main source of quantitative data, whereas focus group interviews elicited the qualitative data. The results showed a significant increase in the participants’ self-efficacy after completing a music pedagogy program which had strong emphasis on applied music. Aligning with Bandura’s social cognitive theory, each of the four sources of self-efficacy contributed to changes in self-efficacy perception. Mastery experience was the most significant source, as exemplified by prior relevant experiences, peer teaching, and practice in music classrooms. Vicarious experiences included observations of music specialists and peers. Verbal persuasion included feedback and encouragement from the course instructor and peers. Lastly, physiological and affective states included anxiety in musical performance as well as stress and fatigue. The findings of this study may inspire the policymakers and universities for the future development of music teacher education programs in Hong Kong and beyond.

Springer-Fudan Journal of the Humanities and Social Sciences (Springer Germany), 14, 345-366.

[SJR Q1]

The public’s participation rate in performing arts in Hong Kong has historically been low, and the Arts Participation and Consumption Survey in 2018 indicated that the primary reason was ‘a lack of interest’ and that education in the arts could increase public involvement. The survey data clearly indicate the significance of education as a driver to develop future audiences. There are nine major performing arts organisations funded by the Hong Kong government, and they share the responsibility of shaping the performing arts landscape. This study explored the role of outreach and education within these major performing arts organisations and how they impact audience development. In addition to document analysis and fieldwork, the researcher interviewed five cultural leaders from the nine performing arts organisations. The findings of this study indicate that while the organisations’ outreach and education engagement help to achieve various important educational goals, direct impact on ticket sales is not easily quantifiable and may occur in the long run. This study concludes by offering a proposed conceptual framework for outreach and education when they are positioned in non-profit performing arts organisations. The four layers in the proposed conceptual framework involve cognitive, affective, ethical, and behavioural dimensions. It contributes to reframing the conceptualisation of audience development for the performing arts and sheds new light on the future of outreach and education in arts organisations and policymaking in arts and culture, with far-reaching implications for other non-profit cultural organisations in Hong Kong and globally.

Research MI Journal, 2 (1), 44.

Recent studies have highlighted various issues surrounding the inextricable interrelationship of multiple intelligences, aesthetic development, and gifted education (Guss, 2005; Shearer, 2020; White, 2005). This essay discusses how Cantonese opera education plays a significant role in developing students' multiple intelligences through interdisciplinary learning. Not only does the learning of Cantonese opera enlighten students' creativity and artistic literacy, but it also elevates the quality of ethics through cultural learning, such as loyalty and respect for elders portrayed in the stories. Furthermore, it enhances bodily-kinaesthetic intelligence through daily practice and stage performances, spatial abilities through acting with various props and settings, and cultivates a sense of aesthetics through dressing up in exquisite costumes and applying makeup of traditional Chinese Theatre.

M. Oebelsberger, A. Bernhofer and G. Sammer eds., European Perspectives on Music Education (Vol 8), Austria: Helbling. p.113-122.

Early childhood education generally refers to educational programmes for young children from birth to the age of eight (Marsh, 2010; National Association for the Education of Young Children, 1991). This period of time is widely recognised as the most important and influential stage in a human’s life. Research on the human brain has shown that the period from birth to the age of eight is a critical phase for brain development and therefore the best time for learning (Curriculum Development Council, 2006). It is during early childhood that a great deal is determined about how an individual will ultimately develop—physically, intellectually, emotionally, and socially. The notion that young children should learn through play has long been acknowledged by educational theorists such as Rousseau, Pestalozzi, and Frobel, and is widely endorsed by current research in early childhood education (Niland, 2009). This chapter aims to demonstrate the key notions and value of play-based approach in early childhood music education. Selected studies are reported to derive a comprehensive conceptualization of the crucial issues in play-based approach in early childhood music education. Exemplars from the music teacher education programmes which focused on interdisciplinary play-based approach are also cited and analyzed to demonstrate how play-based approach could be incorporated into music teacher education programmes and community music.

Chung Chi Campus Newsletter, 59 (4). Chung Chi College, the Chinese University of Hong Kong.