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Since Cantonese opera was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2009, the Chinese government has carried out different policies to “develop” Cantonese opera in Guangzhou. Through state-initiated reforms, the local performing art was homogenized, institutionalized and nationalized in many ways. In this process, the government authorities took the lead and the Cantonese opera music community was not involved in the decision making of the future of their own tradition. This paper aims to discuss this issue.

Based on intensive fieldwork conducted in 2011, the paper examines the meaning of heritage to the local music community, as the art form was recognized by UNESCO in 2009. Apart from studying the policies made by the government, this paper looks into the socio-political impact brought to the Cantonese opera music community from a bottom-up perspective.

Cantonese opera performances in Guangzhou as well as performers’ own social life changed drastically in recent years. Musicians faced a dilemma of whether to follow the government’s market-oriented plan or to preserve their traditional lifestyle with their own initiative.

This paper reveals the voices of the “voiceless” music community and investigates the consequences resulted by the heritagization of the art form to the music community.

While Hong Kong has exercised laissez-faire policy with regard to popular cultural industries, such broadcasting freedom may not fully accepted in countries where state control of the media is tight. This paper aims to have a review and brief discussion on music development and the phenomenon of popular music censorship under Chinese societies including China, Hong Kong and Singapore.

After a brief discussion on the popular music scene in Hong Kong, China and Singapore, this paper reviews on the possible reasons for popular music censorship issue in the Chinese societies.

It is found that Canto-pop can be freely broadcast in Hong Kong; however, such freedom is not accepted in China and Singapore due to censorship. While China is sensitive to pro-democratic content in popular music, Singapore's language policies hinder the development of Canto-pop since the 70s.

After reviewing the reasons for music censorship, in particular Cantonese popular music in the Chinese societies, the paper gives a prediction on the future development of Canto-pop.

With the rapid development of social media, many organizations have begun to attach importance to social media platforms. This research studies the management and the use of social media in academic music libraries, taking the Center for Chinese Music Studies of the Chinese University of Hong Kong (CCMS) as a case study.

We conducted a sentiment analysis of posts on Facebook’s public page to analyze the reaction to the posts with some exploratory analysis, including the communication trend and relevant factors that affect user interaction.

Our results show that the Facebook channel for the library has a good publicity effect and active interaction, but the number of posts and interactions has a downward trend. Therefore, the library needs to pay more attention to the management of the Facebook channel and take adequate measures to improve the quality of posts to increase interaction.

Few studies have analyzed existing data directly collected from social media by programming based on sentiment analysis and natural language processing technology to explore potential methods to promote music libraries, especially in East Asia, and about traditional music.

The purpose of this study is to examine the effectiveness of learning Cantonese opera using Variation Theory as a guiding principle of pedagogical design.

A total of three types of speech in Cantonese opera were identified as the objects of learning in the study: patter speech, poetic speech and supported speech. Two classes of Grade five (N =54) students were arranged into an experimental group and a control group. In the experimental group, the characteristics of the three types of speech were taught using comparison and contrast techniques to help the learners identify and differentiate the characteristics of each type. The control group was taught the three types of speech sequentially without attempting to compare and contrast among the types. Pre‐ and post‐tests were conducted to test the students’ understanding of the objects of learning. An independent samples t‐test and a paired sample t‐test were applied to measure the statistical differences between the groups and the pre‐ and post‐tests, respectively.

The results indicated that there were no significant differences between the two groups before the treatment (p = .665). However, the experimental group achieved a significantly higher level of learning effectiveness than the control group after teaching (p = .003). The control group did not significantly improve their understanding after learning (p = .061), whereas the experimental group significantly increased their scores (p < .001).

The application of Variation Theory in academic subjects, especially mathematics, has been well explored in the literature. This study shows the application of Variation Theory in the cultural subject of music, and points to the potential of Variation Theory as a guiding principle of music teaching to enhance learning effectiveness.

This study aims to understand how a community of practice (CoP) facilitates the knowledge spiral of intangible cultural heritage (ICH) in tourist destinations.

This case study focuses on Cantonese opera, a representative example of the ICH of Hong Kong. Narrative inquiry with eight CoP members was used in this study.

The CoP members believed that the city has unique and quality tourism knowledge. They used their professional expertise in the domains of creating, collecting and sharing both explicit and tacit knowledge. With the strategic goal of creating a sustainable competitive advantage, CoP act as a kernel in knowledge creation by converting explicit knowledge into tacit knowledge and vice versa.

This study uses the knowledge spiral model to understand knowledge creation, and it contributes to the sparse literature on knowledge management in the field of tourism, especially the role of CoP. It addressed a gap in the literature pertaining to knowledge creation and ICH.

One important contribution of variation theory to learning study is that it brings the focus of the learning study sharply on the object of learning and provides a theoretical grounding to understand some of the necessary conditions of learning. The purpose of this paper is to argue that variation theory can serve as a guiding principle of pedagogical design.

Data from two case studies are used to support the argument.

This paper shows that variation theory is indeed a guiding principle; what the teacher is supposed to do in the classroom does not follow mechanically, as exemplified by two learning study cases. The first example shows that the principles of variation theory imply what features of the object of learning has to be invariant and what should vary in the students' experience. However, this is a necessary but not sufficient condition for learning. The second example shows also that even if one is aware of the pattern of variation and invariance needed, still it might take quite a bit of ingenuity to bring it about.

Teachers need a sound theory to help them make wise decisions about teaching. Variation theory provides a theoretical grounding to understand some of the necessary conditions of learning, so that wise pedagogical decisions can be made. This paper contributes to a deeper understanding of variation theory and its application in practice. Furthermore, the paper also shows that while a learning theory enhances the quality of a lesson study, a lesson study can also provide a platform for the testing and application of a learning theory.

Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space.

Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied.

Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes.

While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.

This study aims to identify the role of this intangible cultural heritage (ICH) domain (i.e. social practices, rituals and festive events) in social representations in cross nations using the case of Mazu belief. This study also intends to compare the different social representations of the same religious belief among the regions and implies how ICH facilitates regional connections and its potential for urban tourism development.

This study uses a mix of qualitative approaches, such as desktop research, in-depth interviews, focus group discussions and participant observations. These approaches can supplement one another in discovering the cultural context of the Mazu belief and the perceived meanings of its ritual practices.

Mazu ritual practices in the four identified cities have different social representations, as explicitly expressed from the informants on different forms of celebration. Despite the differences, Mazu belief is representative in placemaking and for regional connections. Not all four cities agree on the current status as embedded in tourism development. However, the key informants show a welcoming manner to the outsiders in participating and experiencing their practices.

The research context of Mazu belief and customs can be extended to more urban cities, which practice this culture.

Different countries and regions that share the same belief can understand distinct social representations from one another. Practical collaborations can be expanded for cultural exchanges, especially the exploration of the role of religion played in boosting urban tourism development.

Mazu belief and customs is a unique cultural asset in enhancing the social representations of Chinese expatriates overseas. Its cultural practices successfully enhance the cultural exchange and social cohesion among religious communities locally and internationally.

Using a United Nations Educational, Scientific and Cultural Organization (UNESCO)-inscribed ICH item with a large audience worldwide, this study supplements the theory of social representations in exploring the intangible cultural assets and highlights the role of ICH in urban tourism and regional and city planning.

This article investigates social history in Hong Kong and compares their community transformation with two Tin Hau temples in Hong Kong, namely the Sai Kung Tin Hau and Hip Tin Temple and Shaukiwan Tin Hau Old Temple.

The paper is conducts a historical comparison to evaluate the vitality of traditional regions in Hong Kong with particular attention to the extent and intensity of its religious practice.

The paper fills a gap in the literature by comprehensively investigating Chinese temple related societies and communities. Most previous studies of Chinese temples and their rituals have treated them in isolation from their political contexts, emphasizing topics such as iconography over details of temple communities and their relationships with other elements of the social structure.

The research works from the point of view how the religious situation reflects important social characteristics and transformation of Shaukiwan and Sai Kung which were contemporary urban communities.

The key concepts to be explored in this article include the blurring boundary between “indie” and “pop”; the significance of digital media in contemporary music industry and the distinctive socio-political nature of indie music in Hong Kong. To a large extent, it discusses the social functions of music – a subject discussed by Simon Frith (2007), a leading scholar in popular music studies.

In order to expound on some observations of the connections between music cultures and socio-political development in Hong Kong, a selection of musical works by indie musicians will be looked into closely.

A focus of discussion will be given to the difference between mainstream Cantopop and indie music in a way that the latter mentions socio-political matters overtly while the former downplays sensitive political issues, particularly in the post-colonial era after the handover of Hong Kong to mainland China in 1997.

Originality of research can be evidenced by the author's textual analysis of the musical styles and lyrics produced by various local indie artists' musical works through primary sources.