This position paper aims to raise awareness among educational policymakers, teacher educators, and school leaders around the world about the urgent need to better prepare Early Childhood Education (ECE) teachers in music education. Most countries fail to sufficiently train teachers to meet the music-related expectations of contemporary ECE curricula, which inevitably affects young children’s learning and development. Our first goal is to describe this worrisome reality in depth, based on prior literature. We elaborate on the limited music education (extracurricular, pre-service, and in-service) typically offered to ECE teachers worldwide. We then highlight the negative consequences that result from having a teaching force clearly ill-prepared in this area. Based on studies conducted with pre-service and/or in-service ECE teachers, we summarize what is known about teachers’ learning needs, motivations, and preferences regarding music education. Our second goal is to propose a series of low-cost, sustainable, and easily scalable strategies to strengthen teachers’ preparation. Practical and policy-related potential obstacles are discussed. As final remarks, we urge ECE stakeholders to (a) investigate the specific needs, motivations, and preferences of their local teachers in music education, (b) design and implement responsive training strategies, and (c) examine their impact on teachers and/or children.

Globalisation has significantly influenced preschool education around the world, including Hong Kong, where the official curriculum framework has recently integrated the Western notion of creativity as part of arts education, forming a new learning area: Arts and Creativity. The purpose of this study was to investigate how Hong Kong preschool stakeholders perceived Arts and Creativity and its viability in practice. We interviewed 20 teachers, 10 principals, and 20 teacher educators specialising in arts education (N = 50). Descriptive statistics and thematic analysis were used. Findings showed that Hong Kong preschool stakeholders: (1) perceived most Western pedagogical characteristics as important but not fully viable in the local context; (2) expressed that children’s arts creativity is fostered from a low/null to a moderate extent, due to constraints such as parental demands, time, and resources; (3) suggested strategies to maximise children’s arts creativity focusing on curricular amendments, parental education, teacher preparation, and societal changes at large. We conclude that Arts and Creativity is not perceived to be implemented in accordance to the official curriculum framework. The study reveals the need to ‘glocalize’ this learning area in the Hong Kong context. Implications for moving forward in arts creativity preschool education are discussed.

In Hong Kong, the Education Bureau (EDB) regularly assesses the quality of services provided by publicly subsidized kindergartens to children aged 3 to 6. Quality Review (QR) reports are written by government officials and published on the EDB’s website. This study analyzes the feedback pertaining to Arts and Creativity to better understand the role this learning area plays in Hong Kong kindergartens. Lexical and content analyses were applied on 164 QR reports published between 2017 and 2020. Findings showed that: (1) the role of Arts and Creativity in the QR reports is relatively minor, which suggests that this learning area is somewhat secondary in Hong Kong kindergartens; (2) presence of the various art forms differs significantly, with Music and Visual Arts being more frequent than Drama and especially Dance; and (3) classroom activities seem to be teacher-centered, product-oriented, and reproductive. Findings suggest that the Arts and Creativity pedagogies enacted in Hong Kong kindergartens are not fully consistent with the official kindergarten Curriculum Guide, which draws on a Western conceptualization of creativity in the arts. We argue that this curriculum/practice gap reveals the need for local stakeholders to embrace a “glocalization” paradigm. Limitations, future research, and implications are discussed.

This article describes the current teacher professional development (PD) infrastructure of Hong Kong, one of the world’s top performers in education. Drawing on contemporary policy frameworks, institutional websites, and research literature, we outline how teachers from primary and secondary local schools are supported to enhance their professional capacity. After introducing the structure of the Hong Kong education system, we describe pre-service teacher education and the Professional Ladder framework, designed by the Education Bureau (EDB) to regulate in-service PD. We then describe the work done by the leading PD providers and the PD-related obstacles, difficulties, and constraints reported in the literature. The article shows that Hong Kong has developed a solid PD infrastructure with hybrid characteristics. While the system is based on compliance and external accountability mechanisms, teachers are encouraged to design their PD journeys based on their interests, needs, and career aspirations. Every three years, teachers are required to complete 90 to 150 hours of PD (depending on seniority), including core and elective training (approximately 1/3 and 2/3 of the PD allotment, respectively). Structured, on-the-job, project-based, whole-school, and individual PD activities are available. The article also describes the strategies recently adopted to tackle the challenges of COVID-19. We conclude that Hong Kong has made great efforts to design a high-quality PD infrastructure within a hierarchical educational system, in which quantity of provision and content coverage have been prioritized over teacher agency and autonomy. More research is required to investigate the actual impact of PD on teachers’ practices and students’ learning. Keywords: Teacher Professional Development, continuing education, system analysis, educational policy, effective professional development, Hong Kong

‘In your opinion, what are some important research questions, problems or challenges that scholars in your field of specialization should address in the coming years? What types of studies should be conducted to move your field further? Please justify’. This prompt was posed by the incoming Editor of JSED to the new team of Deputy and Associate Editors in the journal’s three thematic areas (human development, learning and education), who were invited to co-author this Editorial. We briefly describe the history of JSED, present the composition of its new Editorial Board, highlight modifications recently introduced in our aims and scope and inform readers about our vision, goals and strategies for the upcoming years. The next section presents the Editors’ individual responses to the above-mentioned prompt, in the spirit of sharing perspectives with our scientific community. Finally, we identify common topics that emerged within the three thematic areas and encourage authors to send us high-quality manuscripts that fill the identified research gaps. JSED aims to foster a paradigm of ‘glocalization’ in development, learning and education research.

In 2017, Hong Kong included the notion of creativity in its official kindergarten curriculum framework. However, the curriculum did not define what creativity means in relation to 3- to 6-year-old children. Stakeholders such as teacher educators, kindergarten principals, and teachers may have different understandings of creativity, possibly leading to difficulties in implementing this notion into practice. We adopted Rhodes’ 4P model to examine Hong Kong kindergarten stakeholders’ definitions of creativity in relation to young children. We posed two research questions: (1) What are the themes and elements that Hong Kong kindergarten stakeholders refer to in their responses when defining the notion of creativity? (2) How do these stakeholders differ in their responses when defining this notion? We asked 50 kindergarten stakeholders (20 teacher educators, 10 principals, and 20 teachers) to define the notion of creativity using their own words. Content analysis, descriptive statistics, and multiple Fisher’s exact tests (2 × 2) were used to analyze their responses. We found that all stakeholders possessed a partial understanding of creativity, especially teachers. Stakeholders’ definitions mainly focused on the importance of creative processes. Other components such as the learning environment, the traits of a person, and the creation of products were rarely alluded to in their definitions. We conclude that there is an urgent need to explicitly articulate and conceptualize the notion of creativity in kindergarten curriculum frameworks, such as Hong Kong’s curriculum Guide. This would allow stakeholders to find common ground in the teaching and learning of creativity. Implications for the enhancement of creativity education are discussed.