3. The Struggle for Cultural Identity, School Education, and Music Education in Hong Kong

Impact ◽  
2021 ◽  
Vol 2021 (7) ◽  
pp. 18-20
Author(s):  
Bo-Wah Leung

It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importance of traditional music onto their students. Currently, Leung is working on a project called National education as cultural education: developing students' Chinese cultural identity with learning and teaching Cantonese opera in Hong Kong and Guangdong, with a view to surveying the current state of teaching the genre in primary and secondary schools in Hong Kong and Guangdong and determining the extent to which students' Chinese cultural identity have been developed through learning the genre. Leung believes there are significant research gaps regarding Cantonese opera and he is exploring the transmission of Cantonese opera in Hong Kong through school music education, community education and higher education. In doing so, he is filling research gaps, including the transmission modes of apprenticeship and conservatory tradition; students' motivation about learning Cantonese opera; teachers' confidence and interest in teaching Cantonese opera; the undergraduate programme and curriculum for nurturing professional Cantonese opera artists; creativity of Cantonese opera artists; and informal learning in community settings.


2009 ◽  
Vol 26 (1) ◽  
pp. 71-84 ◽  
Author(s):  
Wai-Chung Ho ◽  
Wing-Wah Law

In the last two decades, educational and curricular reforms in Hong Kong have been designed to prepare students for the challenges of the return of Hong Kong's sovereignty from the UK to the People's Republic of China (PRC) in 1997. This paper focuses on students' and teachers' attitudes towards a multicultural music education, which includes Chinese music, in response to this socio-political change. A mixed method design, involving a content analysis of relevant official educational and music documents, a questionnaire survey to 3,243 school students, and semi-structured interviews with 20 music teachers have been employed to further understanding of the development of politics and culture in Hong Kong society, which was investigated between winter 2006 and spring 2007. This paper argues that access to various musical cultures is a necessary but not sufficient condition for the development of music education in Hong Kong. Questions of how to integrate both Chinese music and other musical cultures in music education will remain a challenge for the future.


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