Email

kwong@um.edu.mo

Tel

(853)8822 8239

Office

E21-4083 (FAH); E6-3114 (CTLE)

Consultation Hours

Mondays 16:00-17:00 (E21-4083)

Tuesdays 16:30-17:30 (E6-3114)

Katrine K. WONG

Director, Centre for Teaching and Learning Enhancement

Introduction

Katrine Wong joined the University of Macau in 2008 and holds an associate professorship. She is a Principal Fellow of Advance HE (PFHEA). She has served as Interim College Master of Ma Man Kei and Lo Pak Sam College (2019-2021). She teaches in the areas of English Renaissance Drama and Life Narratives.

Wong led a multi-disciplinary team and created ‘Creativity’, UM’s first MOOC. The course was launched in September 2018 and is listed by the Ministry of Education of China as a national first-class undergraduate course (國家級一流本科課程). Creativity is the only online course from Macao to receive the recognition.

Wong is also a classically trained pianist and operatic soprano, holding professional titles of FTCL (Solo Piano) and LTCL (Voice Performance) from Trinity College London. She is Conductor of Coro Perosi of Macao.

How Operatic Soprano Sings Immortal Myths Alive Interview with Prof Katrine Wong

Education

She received in 2008 her PhD from University of Leeds where she taught on courses including Plays of Shakespeare.

Research Interests

Wong’s main research interests are music in theatre, English Renaissance Drama and Macao Studies. She is currently the Principle Investigator of MYRG project ‘Creative Writing: Pedagogy and Practices’. Completed projects funded by the University’s RSKTO (previously known as RDAO) include ‘Theatre of Macau’, ‘Contemporary Literature in English: Resource development and outreach’, ‘Shakespeare, Music, and Stage: A Theatrical Discourse in RSC Productions (1960-2006)’.
She would be interested in supervising graduate theses in the areas of English Renaissance Literature, Autobiography, Macao Studies, and Gender Studies.

ORCID: https://orcid.org/0000-0003-3787-6017

Courses Regularly Taught

  • The English Renaissance
  • Life Narratives
  • Shakespeare
  • Creativity (MOOC)

Appointed in 2018 as Short-term Expert-in-Residence, Center for Teaching and Learning, Nanjing University.

Currently serving on the International Advisory Committee, Center for Excellent Teaching and Learning, Peking University.

Principal Fellow, Higher Education Academy.

Member of Society for Renaissance Studies, American Comparative Literature Association, Royal Music Association and Asian Shakespearean Association.

Excellence Publication Scheme, Institute of Advanced Studies in Humanities and Social Sciences (2020)

FAH Excellence in Service Award (2020)

National First-class Undergraduate Course (國家級一流本科課程): Creativity 創意

Sir Edward Youde Memorial Fellowship (2004-2007)

  • Wong, K. K. (forthcoming). ‘”Well, my Mentor, and how am I to manage?”: Multifaceted Mentoring in a Residential College setting in Southern China,’ Journal on Excellence in College Teaching.
  • Li, Z., & Wong, K. K. (forthcoming). ‘Challenges and Opportunities: Dance Education in the Digital Era’, in C. Hong & W. W. K. Ma (eds.), Applied Degree Education and the Shape of Things to Come (Springer).
  • Wong, K. K., & Li, Z. (2022). ‘Creativity under COVID-19: How technology enhanced and promoted student engagement online’, in C. Hong & W. W. K. Ma (eds.), Applied Degree Education and the Future of Learning (Springer). 113-137.
  • Wong, K. K. (2022). ‘Gender and Music in Shakespeare’, in Christopher R. Wilson and Mervyn Cooke (eds.), The Oxford Handbook of Shakespeare and Music (Oxford University Press). doi: 10.1093/oxfordhb/9780190945145.013.4
  • Wong, K. K. (2022). ‘Musical Response to Shakespeare in Greater China: Mandopop and Cantopop’, in Christopher R. Wilson and Mervyn Cooke (eds.), The Oxford Handbook of Shakespeare and Music (Oxford University Press). doi: 10.1093/oxfordhb/9780190945145.013.26
  • Wong, K. K. (2020). ‘Introduction’, in K. K. Wong (ed.), Eastern and Western Synergies and Imaginations: Texts and Histories (Brill). 1-15.
  • Wong, K. K. (2020). ‘Imagining Robert Wilson’s The Three Ladies of London in Macao’, in K. K. Wong (ed.), Eastern and Western Synergies and Imaginations: Texts and Histories (Brill). 229-257.
  • Wong, K. K. (2020) The Three Ladies of Macao, in K. K. Wong (ed.), Eastern and Western Synergies and Imaginations: Texts and Histories (Brill), 25-298. [premièred in 2016]
  • Wong, K. K. (ed.) (2020). Eastern and Western Synergies and Imaginations: Texts and Histories (Brill).
  • Wong, K. K., & Li, Z. (2020). ‘Pedagogical Shifts: Learning Analytics of Mobile Learning using Rain Classroom in Theatre Arts Classes’, in W. W. K. Ma & C. Hong (eds.), Applied Degree Education and the Future of Work – Education 4.0 (Springer). 349-363.
  • Wong, K. K. (2017) ‘Witches and Their Power and Agency in Brett Bailey’s Macbeth (2014)’, Adaptation, 10(2): 262-283.
  • Wong, K. K. (2016) Review of the book China’s Macao Transformed: Challenge and Development in the 21st Century, edited by Eilo W.Y. Yu, Ming K. Chan. Pacific Affairs, 89:4.
  • Deng, S. (2016). 孔子三字經 On Confucius: A Trimetric Classic. Wong, K. K. (tr.) (Press of Zhongdao).
  • Dai, D. (2015). Catholic Music in Macao in the Twentieth Century: Music Writers and their Works in a Unique Historical Context (Tang Y, tr. Wong K. K., ed. & rev.). Macao: Cultural Instituto.
  • Wong, K. K. (2015). ‘A Dramaturgical Study of Conscience’s Broom Song in The Three Ladies of London’, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context http://threeladiesoflondon.mcmaster.ca/contexts/KatrineWong.htm.
  • Wong, K. K., & Wei, G. (2013) (Eds.) Macau — Cultural interaction and literary representations. Oxford: Routledge.
  • Wong, K. K. (2013). Introduction in Wong, K. K., & Wei, G. (Eds.) Macau — Cultural interaction and literary representations. Oxford: Routledge. xxiii-xxxiv.
  • Wong, K. K. (2012). Music and gender in English Renaissance drama. New York: Routledge.
  • Wong, K. K. (2009). ‘A Dramaturgical Study of Merrythought’s Songs in The Knight of the Burning Pestle’, Early Theatre, 12(2): 91-116.

Talks and Workshops

  • (by invitation) Wong, K. K. (2022). ‘We are not production robots: Teaching methods and routes to inspire creativity’, Online Summer Training Course for Teachers of Xi’an Traffic Engineering Institute, organised by Centre of Continued Education, UM.
  • (by invitation) Wong, K. K. & Yang, Y. (2021). Jiyu lianmeng pingtai de zaixian kaifang kecheng gongxiang yingyong moshi yanjiu (基於聯盟平台的在綫開放課程共享應用模式研究) .Guangdong-Hong Kong-Macao Greater Bay Area University Online Open Courses Alliance Annual Meeting. China.
  • (by invitation) Wong, K. K. (2021). ‘Outcome-Based Education in Performing Arts’, Hong Kong Academy for Performing Arts, Hong Kong, China.
  • (by invitation) Wong, K. K. (2021).‘Ideas and Practice of Guaranteeing the Academic Quality of Higher Education’, Online Summer Training Course for Teachers of Shunde Polytechnic, organised by Centre of Continued Education, UM.
  • (by invitation) Wong, K. K. (2021). ‘Flippin’ Shakespeare: Teaching Literature through Theatre Practice’, Faculty Development programme, Shandong University, China.
  • (by invitation) Wong, K. K. (2021). ‘Love, Lucre and Conscience et al. in Macao’, Mini Forum, Institute of Advanced Studies of Humanities and Social Sciences, UM.
  • (by invitation) Wong, K. K. (2021). ‘Boya Book Launch — Eastern and Western Synergies and Imaginations: Texts and Histories’, Boya Book Launch Series, UM Library.
  • (by invitation) Wong, K. K. (2020). ‘Who is Shakespeare in Chinese pop music?’, Shakespeare and Music: New Interdisciplinary Perspectives, 2020, RMA Shakespeare and Music Study Group, U.K.
  • (by invitation) Wong, K. K. (2020). ‘From MOOC to SPOC: Construction and Application of a First-Class Course’, First-Class Undergraduate Course Seminar 2020, hosted online by MOE Research Center for Online Education and XuetangX.
  • (by invitation) Wong, K. K. (2020). ‘ABCs of Making Instructional Videos’, HK Electric, Hong Kong, China.
  • (by invitation) Wong, K. K. (2020). ‘Designing Online Learning Activities’, HK Electric, Hong Kong, China.
  • (by invitation) Wong, K. K. (2020). Keynote presentation ‘LMS-enhanced teaching and learning at UM’, Assuring Online Education Quality in the COVID-19 Period (webinar), Tsinghua University Online Teaching Quality Assurance Expert Group, China.
  • (by invitation) Wong, K. K. (2020). Keynote talk ‘Designing and Sustaining Faculty Learning Communities’, KEEP eLearning Community of Practice and Annual Collaborators Meeting, CUHK, Hong Kong, China.
  • (by invitation) Wong, K. K. (2019). Keynote presentation ‘Digital Immigrants and Digital Natives: A Narrative from the University of Macau’, International Conference for Teaching and Learning Development in Higher Education, Peking University, China.
  • (by invitation) Wong, K. K. (2019). Keynote presentation ‘Working with Digital Natives @UM’, 6th Greater China Online Education Symposium第六屆大中華區在線教育研討會, Shanghai Jiaotong University, China
  • (by invitation) Wong, K. K. (2019). Two-hour workshop ‘The Flipped Classroom’, EduTECH Asia 2019, Singapore.
  • (by invitation) Wong, K. K. (2019). Two 45-minute roundtables ‘Building Faculty Learning Communities’, EduTECH Asia 2019, Singapore.
  • (by invitation) Wong, K. K. (2019). ‘Digital-Age Learning and Teaching @UM’, Guangdong-Hong Kong-Macao Greater Bay Area Seminar on HE Smart Education and Jinke (金課) Construction, Guangzhou University, Guangzhou, China.
  • (by invitation) Wong, K. K. (2019). ‘Challenges and Opportunities of Digital-Age Teaching and Learning’, Content and Pathways of Jinke (金課) Construction at HE Institutions in the Guangdong-Hong Kong-Macao Greater Bay Area, South China Normal University, Guangzhou, China.
  • (by invitation) Wong, K. K. (2019). ‘High-Tech, Low-Tech and No-Tech: Digital-Age Teaching and Learning at the University of Macau’, Asian e-Table 2019, University of Hong Kong, Hong Kong.
  • Wong, K. K. and Li, Z. (2019). ‘Creativity: A Pan-Disciplinary MOOC’, Lilly Conference, Hong Kong.
  • (by invitation) Wong, K. K. (2018). 90-minute workshop on ‘Theory and Practice of Faculty Learning Communities’, Annual Conference of Faculty Development for Higher Education Teachers in Jiangsu Province, Suzhou, China.
  • (by invitation) Wong, K. K. (2018). 75-minute workshop on ‘Little Things to Boost Student Engagement’, Nanjing University, Nanjing, China.
  • (by invitation) Wong, K. K. (2018). 75-minute workshop on ‘Flippin’ Renaissance: Teaching Literature through Theatre Practice’, Nanjing University, Nanjing, China.
  • (by invitation) Wong, K. K. (2018). Two pre-show lectures ‘Queen of Muses and Tenebrae Responsories: Stilo Antico’, 32nd Macao International Musical Festival, Macao
  • (by invitation) Wong, K. K. (2018). 90-minute workshop on ‘Teaching and Learning at UM’, 教育信息化0時代下智慧教學發展與創新研習班, xuetangx.com, Zhuhai, China.
  • Wong, K. K. et al. (2018). 60-minute panel presentation on ‘Evolution of a Multicultural Research University in Greater China’, The International Consortium for Educational Development Conference, Atlanta, Georgia, USA.
  • Li, Z, and Wong, K. K. (2018). 50-minute panel presentation on ‘Rain Classroom: Bridging the Gap between Teachers and Learners’, 14th International Conference on Mobile Learning, Lisbon, Portugal
  • (by invitation) Wong, K. K. (2018). Keynote presentation on ‘Musical Representations of Ophelia’s Madness’, 11th Chongqing Shakespeare Association Conference: ‘Shakespeare and the Internet Plus’. Chongqing, China
  • Wong, K. K. (2017). 50-minute workshop on ‘Flippin’ Renaissance: Teaching Literature Through Theatre Practice’, Lilly Conference on Evidence-Based Teaching and Learning, Bethesda, Maryland USA
  • (by invitation) Wong, K. K. et al (2016). ‘Faculty Learning Communities: Changing Teaching Culture’, Annual Conference of the Chinese Higher Education Development Network, Hefei, China
  • Wong, K. K. (2016). ‘Who, or where, are the witches in Brett Bailey’s Macbeth (2014)?’, World Shakespeare Congress, Stratford-upon-Avon, UK
  • (by invitation) Wong, K. K. (2016). ‘From Ditties to Arias: Music on a Shakespearean Stage’, 27th Macao Arts Festival, Macao
  • (by invitation) Wong, K. K. (2015). ‘A Dramaturgical Study of Conscience’s Broom Song in The Three Ladies of London’, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context, Hamilton Canada