Integrated Human Practices

Xiaoyong Zhao

China's Van Goghs

Zhao Xiaoyong, a featured painter in the documentary China's Van Goghs, spent nearly three decades reproducing Van Gogh's works in Shenzhen's Dafen Oil Painting Village. Over time, he moved from commission-based replication to original creation rooted in everyday observations. With no formal academic training, he honed his technique and color sense through self-learning and long practice. After viewing Van Gogh's originals in Europe in 2018, he shifted firmly to original work, strengthening his belief that anything in life can enter the canvas.

Reflect

We listened to Zhao's interpretation of Van Gogh and Irises, and his insights from nearly 30 years of reproducing Van Gogh's work. We discussed recommendations for recreating Irises in the iRis project using purple, blue, and green pigments, the feasibility of bacterial pigment production, and the priority of biosafety. Our conversation also covered trends in science–art integration, how Dafen's commercial ecosystem shapes artistic pursuit, and the social value of art outreach. Additionally, we considered on-site interpretive guidance for a museum exhibit featuring bacterial Irises, weighed the pros and cons of AI-generated art, and connected the growth variability of E.coli in our project to the artistic notion that imperfection is part of authentic life.

What we want to know

​​ Renew & Record

• 1.Understanding Van Gogh and Irises

  Zhao noted that Van Gogh painted many versions of irises, particularly while hospitalized, when the square outside was filled with the flowers. Despite illness and a dimmed outlook, Van Gogh kept hoping for recovery, sustained by his devotion to painting and his yearning for life. Surrounded by irises during each hospital stay, he seemed to regain strength more quickly.

  Among all subjects, irises and sunflowers were likely his favorites—symbols of inner vitality. Some sunflower paintings blaze with brilliance; others pulse with robust life. That intense sense of vitality characterizes much of Van Gogh's work, especially in his depictions of plants.

  In essence, Van Gogh's art is a direct expression of his inner reflections—his understanding and love of life infused into the canvas.

• 2. Color selection and layering

  We worried that relying only on purple, blue, and green might look thin for Irises. Zhao advised focusing on the dominant palette rather than chasing every detail. The cool triad can map well onto petals, sky, and foliage, preserving the painting's core tonality. While Van Gogh's finer elements (buds, centers) are richer in color, these can be simplified with blue hues and white. Because our bacterial pigments lack the impasto texture of oils and our substrate is flat silk, he recommended practical tests to enhance perceived relief.

• 3. Why interdisciplinarity matters

  Our project seeks a genuine fusion of science and art. Zhao observed that art schools and studios are increasingly experimenting with mixed media, often achieving striking results. Technology can enable visual effects unreachable by traditional means. Contemporary art naturally evolves by testing new materials and modes of expression. He also cautioned that innovation must be grounded in strong artistic substance—the work should move people on its own, not through buzzwords.

• 4. Broadening access to art

  Drawing on his years in Dafen, Zhao emphasized how the village lowers barriers to art—through oil-painting experiences and portrait sketching that gently cultivate aesthetic awareness. Compared with decades ago, when viewers walked away if they “didn't get it," more people now pause to consider meaning, showing a rise in public appreciation. For our project, this suggests designing approachable micro-interactions that draw people in first, then deepen understanding.

Yongjiu Zhou

China's Van Goghs

Yongjiu Zhou, one of the protagonists of China's Van Goghs, began his career reproducing oil paintings in Dafen Village. In 1994, an accidental find of Van Gogh reproductions prompted him to practice by copying these works, laying a foundation for his later creation. In 2008, amid the global financial crisis, he shifted to original work and gradually stepped away from dependence on external orders, seeking expressions aligned with his own emotions and thinking. Influenced by nature and everyday life, his art explores the relationship between people and the natural world, and the emotional role of art in daily living.

Beyond his own practice, Zhou volunteers as an art instructor at a charity school, working with autistic and deaf students. His approach—demonstrating first, then encouraging each student's personal expression—explores the therapeutic potential of art. In doing so, he not only imparts technique but also helps students find a voice for their inner worlds, underscoring art's profound impact on people.

Reflect

This interview clarified three key points for us.

First, regarding Van Gogh and Irises: Zhou believes Van Gogh used intense colors to express himself, and that the “white" irises often appear where lighting is strongest. He emphasized Van Gogh's consistent focus on nature and everyday life, which shaped his distinctive emotional language.

Second, on materials and presentation: For recreating Irises on silk with bacterial pigments, he offered practical guidance—mix the three colors; test freeze–thaw or heating to modify texture; and introduce subtle surface relief on silk to mimic the tactile quality of brushwork.

Third, on public engagement: Drawing from Dafen's experience, he noted rising public receptivity to art, though people's paths to understanding differ. Effective exhibitions invite people to pause first, then gradually build comprehension.

What we want to know

​​ Renew & Record

In the next phase, we will refine our workflow and document each experiment and design step in detail.

We will begin with small-scale studies on color ratios and mixing, iterating toward optimal combinations and layering sequences. In parallel, we will compare outcomes under different humidity and temperature treatments to identify conditions that better approximate oil-painting effects. We will also test surface texturing approaches on silk and related substrates to determine methods that balance artistic quality with the distinct characteristics of bacterial media.

For exhibition and engagement, we will develop an intuitive visitor flow that helps audiences quickly understand and experience the fusion of microbial and traditional art without feeling alienated. This includes simple color-based interactions and concise biosafety messaging so people “pause first, then understand," easing acceptance of this new form.

For records and archiving, we will synthesize Zhou's trajectory from copying Van Gogh to establishing his own original practice, as a reference for our project. Each decision and result will be documented, preserving not only experimental outputs but also the evolution of artistic intent and method. These materials will support future interdisciplinary work across science and art.

Ms. Yu Chen

Art teacher

A music teacher in a rural private school

Reflect

Through our conversation with Ms. Chen, a music teacher, we gained insight into the reality of music education in rural private schools: the lack of dedicated music classrooms and instruments, the frequent replacement of music lessons by core academic subjects, and the general neglect from parents. However, students still experience joy in singing activities. This revealed to us that the imbalance in aesthetic education lies not only in material resources but also in the undervaluation of its importance.

What we want to know

​​ Renew & Record

Ms. Chen's insights inspired us to:

• Direct efforts toward under-resourced schools:

  Prioritize rural areas when implementing our synthetic biology art-based education programs.

• 2.Design contextual teaching

  Combine “bacterial painting” with music lessons in a simple, engaging, and interactive way so students gain a sense of accomplishment from the creative process.

• Enhance public perception

  Organize exhibitions, workshops, and parent-student sessions to raise awareness about the emotional and creative benefits of aesthetic education.

Dr. Yongze Zhao

Aesthetic Education

PhD candidate in Biomedical Science at the University of Macau Applications of machine learning in medical field

Reflect

The interview with Zhao Yongze, a PhD candidate in Biomedical Sciences, highlights multiple challenges in China's aesthetic education:

• 1.Marginalization of aesthetic education —under exam-oriented systems, music and art remain sidelined, with limited resources and weak institutional support.

• 2.Lack of aesthetic literacy in society—phenomena such as bizarre architectural designs reflect poor public and administrative taste.

• Public curiosity and concern toward bio-art—while intrigued by synthetic biology-based art, he expressed concerns over biosafety and ethics.

This suggests that advancing bio-art as a medium for aesthetic education requires not only innovative works but also effective public communication and risk management.

What we want to know

​​ Renew & Record

Zhao Yongze offered several actionable recommendations:

• 1.Simplify scientific communication:

  Avoid excessive jargon, use animations, illustrations, or visual storytelling to explain the “bacterial painting” process.

• 2.Ensure transparency in ethics and safety:

  Clearly communicate strain sources, waste handling, and biosafety measures in exhibitions and HP activities.

• 3.Address cost and scalability:

  Develop more affordable and replicable protocols to lower the threshold for art-biology collaborations.

• 4.Implement aesthetic education strategically:

  Start with exhibitions as a public-facing medium, then expand into workshops, courses, and outreach to create a “high-impact yet low-barrier” aesthetic education model.

Zhuhai Facilitators

A social work organization serving migrant children

Click here to learn more about Zhuhai Facilitators

Reflect

Through an interview with Zhuhai Facilitators, our partner in conducting courses, we gained insight into the views of a social work organization serving migrant children and the perspectives of their families regarding aesthetic education. We found that the organization places considerable emphasis on aesthetic education, integrating it into their social work initiatives with positive outcomes. They have also expressed strong interest in continuing our collaboration on science and art integrated courses.

What we want to know

​​ Renew & Record

• 1. For children , their natural curiosity toward novel things makes them more receptive than adults who may have cognitive barriers. The integration of artistic forms in the curriculum transforms abstract knowledge into hands-on practice, which primarily enhances memory and engagement.

  Visualizing bacteria through art helps break the stereotype that “all bacteria are dangerous," conveying a more scientific perspective of “coexistence between microbes and humans." This approach offers a fresh cognitive angle and can help alleviate fear.

• 2. Aesthetic education holds significant importance at Zhuhai Facilitators

  • •Environment Building:

    Natural aesthetic spaces are created through wooden decorations, wall paintings, and handmade signs, countering the often messy and disordered living conditions of migrant children. This conveys the idea that “beauty is co-created" and encourages participation in community building.

  • •Activity Design:

    Handmade poster creation: Mixed-age collaboration (coloring/drawing/idea generation) stimulates self-expression and teamwork; Non-templated teaching: Rejects standardized outputs (e.g., providing only a circular outline for drawing a face) and encourages personalized expression;

    Museum visits: Expand aesthetic experiences (ancient architecture/historical artifacts) and plant seeds for cultural enlightenment.

• 3. Parents' attitudes toward aesthetic education are :

  • •Utilitarian view: Families facing hardships prioritize academic performance and see aesthetic education as a “distraction from studies";

  • •Supportive view​​: Some parents are willing to invest in their children's interests and recognize the value of holistic development.

  • •Children demonstrate strong demand:

    They show great enthusiasm for art courses and clear willingness to continue learning after class. However, many such courses are fee-based and thus financially inaccessible.

• 4. Social workers interviewed generally acknowledge the value of aesthetic education—including its role in healing and essential literacy development—and recognize its positive psychological impact on children.

• 5. The organization strongly agrees with collaborating on science and art integrated courses. They believe sustainable cooperation can take multiple forms, such as bringing programs into schools and training children to become young instructors.

Research on Public Art Perception and Aesthetic Education Biases

Overview:

This survey aims to gain insights into the Chinese public's awareness of art and the practical challenges of aesthetic education. The findings reveal that while the public highly recognizes the value of art and the importance of aesthetic education in principle, in reality, aesthetic education has been marginalized due to "utilitarian social values", "exclusion from standardized testing" and "uneven resource distribution" resulting in passive and superficial art participation. This highlights the core contradiction in promoting aesthetic education and underscores the necessity and foresight of our project, which employs low-threshold, highly participatory bio-art innovation to break the deadlock and restore aesthetic education to its essence of perception and creativity.

By September 30,2025, we had collected a total of 217 questionnaires in China, with the age distribution as follows.Overall, our survey population was dominated by young people aged 18-30. As the most active and influential segment in society, this group has artistic aesthetic orientations and acceptance levels that largely indicate the future direction of public aesthetic education, most accurately reflecting the current societal acceptance of innovative art forms and existing cognitive biases.

Figure 1: Age distribution of respondents (The answer to "age")

The distribution of social identities among our survey respondents is as follows: Overall, the majority of respondents were students, followed by teachers, with a small proportion being working professionals and other employed individuals. Among the teacher group, most taught academic subjects such as Chinese, English, chemistry, and biology, with only a few involved in art-related courses. Within the working professionals group, there were specialists in fields like biotechnology, art restoration, and art therapy, as well as practitioners from numerous other industries—ranging from cutting-edge technological innovation sectors like information technology to foundational service areas like healthcare, and even industries bridging technology and personal consumption, such as the beauty industry. This diversity ensures the comprehensiveness of the survey results.

Figure 2: Social identities of respondents (The answer to "identity")

Figure 3: Teaching disciplines of the faculty group (The answer to "subjects taught")

Figure 4: Career directions of Professionals (The answer to "Career Orientation")

After characterizing the demographic profiles of our survey respondents, we further analyzed their perspectives on art-related issues. Below are the definitions of art provided by the participants. Overall, painting and music received the highest recognition, reaching approximately 95%, followed by film, theater, sculpture, and dance, with recognition rates hovering around 88.5%. Lastly, cooking and gaming garnered recognition rates of about 69% and 64%, respectively. Additionally, some respondents supplemented their personal definitions of art, such as "any concept or entity that satisfies aesthetic needs", "things that originate from life yet transcend it—beauty defined differently by each Homo sapiens", and so on. This indicates that traditional aesthetic education has successfully popularized classical art, yet struggles to respond to the diversity of contemporary art. Therefore, establishing an inclusive aesthetic framework has become an urgent necessity, which also points the way for our project to promote innovation in aesthetic education.

Figure 5: Respondents' definition of art (The answer to "art definition judgment responses")

We subsequently investigated the frequency and forms of art participation among respondents, with the following findings. Overall, 34% of participants engage in art multiple times weekly or occasionally, followed by 23.5% who participate monthly, while those who rarely engage account for the smallest proportion. Regarding engagement formats, online art appreciation and offline exhibition/performing arts visits dominate, with participation rates reaching 78.8% and 66.36% respectively. Meanwhile, self-creation and art course participation rates remain below 50%. This indicates that current public engagement in art remains passive and superficial. Art education and aesthetic cultivation efforts should not merely provide richer artistic content for public consumption, but must transform the public from "spectators" to active "co-creators." This insight suggests that our project applications should adopt universal applicability and low barriers to entry, enabling broader public participation in artistic creation processes.

Figure 6: Frequency of artistic participation among respondents (The answer to "frequency of personal artistic participation")

Figure 7: Forms of artistic participation of respondents (The answer to "Forms of personal artistic participation")

We then analyzed the respondents’ views on art and aesthetic education, with specific results as follows. Respondents generally agreed that "aesthetic education can enhance people's life happiness", but were neutral or slightly opposed to the view that "community art museums are as important as hospitals". The statements "art education has limited help for scientific employment" and "school art classes are secondary to core subjects like mathematics and Chinese" received neutral or slightly supportive ratings. This indicates that the Chinese public has highly recognized the intrinsic value and personal significance of art ideologically, but demonstrates a highly cautious and pragmatic attitude when addressing practical issues such as resource allocation, utilitarian utility, and institutional integration. This also highlights the core challenge in promoting aesthetic education today: designing practical solutions that bridge spiritual artistic pursuits with real-world concerns, rather than merely discussing its importance.

Figure 8: Average agreement of respondents on views related to art (The answer to "Please choose the most appropriate item according to your actual situation: 1→5 indicates strong disapproval→strong approval")

To investigate the current state of aesthetic education marginalization, we surveyed respondents regarding their perceptions and observed phenomena related to this issue along with underlying causes.

Figure 9 illustrates the prevalence of marginalization-related phenomena. Approximately 3% of respondents answered "none" in the "other" category. Some mentioned specific instances such as the absence of art courses starting from high school, schools conducting art classes merely as formalities rather than fulfilling aesthetic education objectives, and universities treating artistic literacy as a comprehensive evaluation tool.

Figure 10 illustrates respondents’ agreement with the notion of "aesthetic education being marginalized", with specific results as follows: 76.98% of respondents endorsed this view. Regarding those who opposed it, our analysis of their arguments revealed differing interpretations of the question. Some respondents maintained that aesthetic education is crucial and should not be marginalized. Others noted that aesthetic education has gradually gained societal recognition, while some argued that "the scope of marginalization needs clarification and the current situation should be acknowledged within the exam-oriented education framework". Conversely, others expressed reservations, stating it might simply be "artists' self-perceived biases".

Figure 11 highlights primary causes of aesthetic education marginalization, with 85% attributing it to "social utilitarian values", establishing the macro-social context of this challenge. The institutional causes of aesthetic education marginalization are twofold: "The college entrance system does not assess art" and uneven distribution of educational resources. The 59.28% recognition rate of "parental cognitive biases" reflects utilitarian values at the family level. These findings clearly expose systemic challenges in implementing aesthetic education. Data consistently highlight a core contradiction: while the ideal value of aesthetic education enjoys widespread acceptance, its implementation within the current education framework often suffers from marginalization, utilitarian tendencies, and superficial formalism.

Figure 9: The existence of marginalization of aesthetic education (The answer to "Do you observe the following phenomenon in your life?")

Figure 10: Respondents’ agreement with the view that "aesthetic education is marginalized" (the answer to the question "Do you agree that aesthetic education is marginalized (which can be simply understood as aesthetic education is not valued)")

Figure 11: Main reasons respondents think aesthetic education is marginalized (The answer to "What do you think are the main reasons for aesthetic education being marginalized?")

To most intuitively probe the public's genuine social attitudes and underlying biases toward art education, we designed a scenario question about "first reactions when seeing neighbors' children learning painting or musical instruments". The majority of respondents endorsed "nurturing interests is beneficial", while a minority expressed concerns that neighbors might "intend to enroll in art-specialized programs" or "worry about academic performance". Only a small percentage considered it "a wasteful and useless investment". In the "other" category, respondents shared perspectives like "forced by parents", "I'd love to learn if I could", and "hope the children genuinely enjoy art rather than parents demanding hobbies". These findings reveal a paradoxical social mentality --- where widespread conceptual support coexists with practical utilitarian anxieties. The overall societal endorsement reflects multiple layers of criticism regarding educational alienation, aspirations for artistic purity, and personal sentiments.

Figure 12: Respondents 'first reaction when they saw their neighbor's child learning to draw or play an instrument (The answer to "When you see your child learning to draw/instrument, what's your first reaction?")

Our research exposes the persistent challenge in aesthetic education: while its value gain recognition, they remain marginalized. This is precisely why our project carries profound significance. By employing low-cost biological kits to challenge resource inequality, we spark creativity through life's natural inspiration rather than forced indoctrination, allowing aesthetic education to reconnect with genuine appreciation and passion. This endeavor transcends mere science—it can stand as a groundbreaking social experiment shaping the future of aesthetic education.

Dr. An Liu

Public Engagement

School of Future Design, Beijing Normal University

Research Interests

• 1. Slow fashion and sustainable fashion

• 2. The intersection of fashion and positive psychology

• 3. Contemporary expression and reinvention of traditional culture

Reflect

Through our discussion with Teacher Liu, we realized that safety and psychological acceptance are crucial when involving the public in art practices. Even if microbial art offers unique creativity and aesthetics, requiring participants to directly engage with “live bacteria” may raise safety concerns or mental discomfort, thereby reducing participation. Public engagement is not only about technical demonstration but also about creating a safe, acceptable, and meaningful experience. Teacher Liu’s marbling workshop experience reminded us that interdisciplinary art practices must balance technical controllability with public perception to achieve genuine participation and recognition.

What we want to know

​​ Renew & Record

Teacher Liu’s advice provided valuable guidance for us:

• 1.Shaping public sense of safety:Beyond biosafety measures, it is equally important to consider participants’ psychological comfort and minimize unease about “live bacteria.”

• 2.Necessity and meaning:The uniqueness of microbial art should be explained through “why this method,” helping the public see its artistic and inspirational significance rather than perceiving it as a gimmick.

• 3.Interactive design optimization:Inspired by the marbling workshop, we could guide participants from simple pattern creation to applied works in stages, enhancing both control and accomplishment.

• 4.Balancing global and local perspectives:Teacher Liu noted that international exhibitions emphasize safety protocols, while domestic audiences focus more on visual effects—reminding us to balance both expectations in our project design.

Survey for Public's Acceptance of Microbial Art

Overview

This survey aims to understand the public's acceptance of microbial art and explore more possibilities for the team project. The results show that the respondents have a relatively high level of knowledge about microorganisms and are able to accept this form of art, but there are concerns regarding safety and ethics.

Figure 1: Age distribution of respondents

Figure 2: Social identities of respondents

Overall, our survey population primarily consists of young adults, who, as the most influential demographic in society, represent a key indicator of future trends in public scientific literacy and artistic appreciation. This group is also the primary target audience for emerging forms of artistic expression. Additionally, the survey includes a certain proportion of middle-aged participants. In terms of professional distribution, the respondents are predominantly students, followed by educators, with a smaller number of individuals from other occupational backgrounds.

Subsequently, we investigated participants' fundamental understanding of microorganisms. Overall, the level of awareness demonstrated was relatively high, with some nuanced variations observed.

Figure3: Perceived role of microorganisms

Figure4:​Known microbial applications

Figure5:Attitudes toward genetically modified microorganisms

• 1.Regarding daily functions, the majority of participants perceived microorganisms as having ​​mixed impacts (both beneficial and detrimental)​​, while demonstrating awareness of common application scenarios such as yogurt production and wastewater treatment.

• 2.For genetically modified microorganisms, ​over 80% of participants maintained a supportive stance toward their development but emphasized stringent oversight​, particularly for risk mitigation (e.g., safety failures and ethical concerns); only a small minority expressed complete opposition or indifference.

Building upon this foundation, we investigated the participants' familiarity with microbial art and found that awareness was generally limited: the majority had only heard the concept (32.67%) or seen images (43.08%), while a significant proportion had never encountered the term (23.27%). This highlights the pioneering nature of our project domestically and underscores the necessity for awareness-raising efforts. Encouragingly, however, many respondents exhibited curiosity and anticipation when introduced to the idea of "using bacteria to create artwork," demonstrating openness to its artistic value.The acceptance scale demonstrates a ​​significantly high mean score.Notably, concerns regarding safety were frequently raised, reminding us to prioritize safety considerations in project promotion—a aspect for which we have corresponding preparations in place.

Figure6:Prior exposure to microbial art

Figure7:Initial reaction to bacterial artwork creation

Figure8:Acceptance Level

While our research received ​​positive reception regarding acceptance levels​​, over half of the respondents expressed ​​concerns about microbial art​​, primarily focused on ​ ​ethical and safety issues ​​, with ethical review receiving significant attention. Some respondents also expressed apprehensions regarding ​​artistic merit and visual outcomes​​. Based on these findings, our team continues to refine its approach and has sought recommendations and direction through interviews.

Figure9&10:Concerns about microbial art

Figure11:​Need for ethical review

To explore how the presentation of project outcomes could be more engaging, we investigated participants' perceptions of the appeal of microbial art. All options provided in the questionnaire received recognition​, a finding that has directed our DRY LAB work.

Figure12:Core appeal recognition

​​Regarding preferred promotional formats, the results are as follows: physical interactive experiences led by science museums/museums emerged as the most favored approach, while alternative formats also demonstrated notable traction.​ Among the mentioned promotional formats, DIY bio-art kits have the largest acceptability (61.39%), though not the preference of most people, followed by social media short videos (50.5%), and finally artist-scientist dialogues and documentaries (both at 30.2%). This suggests that in promotional applications, we could design relevant offline experiential kit packages. Additionally, we have explored more promotional approaches, such as the Microbial Melody handled by the modeling team.

Figure13:Preferred experience venues

Figure14:Preferred promotional formats

Zhuhai Facilitators Field Research

A social work organization serving migrant children

Click here to learn more about Zhuhai Facilitators

On June 28,2025, we conducted first on-site research at the Zhuhai facilitators Base. This visit provided us with insights into Zhuhai facilitators’ history, its conditions, and migrant children's situation. We also engaged in discussions with collaborators regarding our designed curriculum outline, making targeted adjustments based on their feedback.

The following detailed suggestions and improvements were proposed:

• 1.Incorporate interactive games during peer recognition sessions to foster relationships.

• 2.Establish group agreements with each team to jointly formulate classroom rules.

• 3.Enhance cooperation awareness through group points system while motivating initiative by appointing group leaders.

• 4.Streamline course content from six activities to four: retaining "Microscopic Cell Observation", "Petri Dish Graffiti Experiment", "DIY DNA Necklace", and "Cell Planet Construction". Following teachers 'recommendations, the "Cell Planet Construction" activity was transformed from paper cutting to clay modeling.

In the end, Teachers specifically reminded us to obtain consent before using children's photos, leading to prior agreement signing before class commencement.

Zhuhai Facilitators

A social work organization serving migrant children

Click here to learn more about Zhuhai Facilitators

Reflect

Through this interview, we have gained a deeper understanding of the challenges faced by migrant children, particularly in terms of educational resources, family environment, and living conditions, as well as their lack of access to science educational resources. At the same time, we have learned about the current state of social work, including both the improvements made in the children’s situations and the ongoing difficulties. This process has enhanced our awareness of the conditions of the local migrant children population and provided direction for refining our curriculum.

What we want to know

Renew & Record

1.Migrant children face dual pressures of economic hardship and academic challenges:

• Families commonly experience financial strain (low wages, informal employment, lack of social security).

• Limited access to educational resources; most cannot enter public high schools (due to household registration or point-based requirements).

• Main causes of household registration barriers:​​

  Requirements for permanent residency include educational background, stable employment, social security contributions, and property ownership—conditions difficult for struggling families to meet.

  Public schools prioritize local students, leaving few spots for migrant children (e.g., only one spot available in a certain year).

2.Migrant children exhibit relatively low rates of progression to higher education. Many end up with limited options, often engaging in manual labor.

3.Logic behind Facilitators’ activities:​​

• Address resource gaps (e.g., self-awareness, social skills, platforms for parent-child interaction).

• Tackle isolation among children (promote community engagement, reduce smartphone dependency).

• Actual outcomes:​​

  Initial difficulties in mobilization, but participants gradually opened up and showed increased willingness to communicate.

  Summer programs provided safe learning environments, offering an alternative to unsupervised home settings.

4.Access to educational policy information is highly unequal:​​

• Parents of children in public schools receive policy guidance, while those in private schools are often kept in the dark (schools may withhold information to retain students).

• Migrant families generally lack proactive channels to obtain policy-related information.

• Organizations attempt to connect with external resources (e.g., online course enrollment guidance), but localized support remains insufficient.

5.Social work is a long-term endeavor that requires sustained effort to yield results. Challenges include uncooperative parents and resource wastage. However, long-term follow-up shows visible positive changes in children.

6.Popular science resources in Zhuhai’s western district are significantly fewer than in Guangzhou and Shenzhen. Science courses are in high demand but lack specialized academic support.

Courses should inspire children’s intrinsic motivation to explore and encourage active participation.

Yuxian Ye, Ping Lin

Special Education

• 1.Ms. Yuxian Ye:

  With 5 years of experience in special education, she has participated in Yimixing's Flexible DTT Online Course, MY Star Online Teaching Training, PCI Social Game Core Theory Course, and training on providing effective group courses for developmental children. She attends the annual Special Training Workshop on Knowledge and Skills for Childhood Autism organized by Zhuhai Maternal and Child Health Hospital, as well as the Professional Technical Training on Rehabilitation for Children with Developmental Disabilities held by the Guangdong Provincial Association of Rehabilitation for Persons with Disabilities. She holds a certification in autism rehabilitation education and specializes in individualized teaching, social group teaching, group course instruction, integration management in mainstream schools, speech-language therapy, and sensory integration rehabilitation training.

• 2.Ms. Ping Lin:

  With 5 years of experience in special education, she has attended multiple training programs, including the Special Training Workshop on Knowledge and Skills for Childhood Autism by Zhuhai Maternal and Child Health Hospital, the Professional Technical Training on Rehabilitation for Children with Developmental Disabilities by the Guangdong Provincial Association of Rehabilitation for Persons with Disabilities, the Provincial Standardized Training Workshop for Speech Rehabilitation Technicians and the Practical Operational Techniques Training for Speech Rehabilitation of Special Children, as well as standardized training on the (S-S Method) for assessing language development delays in children, and practical tutoring workshops on individual oral motor/speech assessment and training. She is proficient in assessment tools such as PEP-3, VB-MAPP, and ABLLS-R, and excels in using ABA for one-on-one teaching and customized social group courses. She provides professional assessments and develops individualized teaching plans for young children to enhance their cognitive understanding, social skills, language expression, and other abilities, helping them fully realize their potential.

Reflect

Through interviews with the two teachers, we gained insights into the current state of education for children with neurodevelopmental disorders in Zhuhai, including the curriculum offerings and how the children are adapting. Additionally, we asked the teachers for feedback on the preliminary instructional design and received guidance such as the need for simple and clear instructions, and the use of physical models where possible. These suggestions have been incorporated into our curriculum.

What we want to know

Renew&record

• 1.The most critically lacking and urgently needed resource: professional teachers.

  Teachers must understand the individual differences and language comprehension characteristics of children with autism to effectively guide their participation. Courses should incorporate more collaborative interactive content to promote communication between children and their peers as well as adults.

• 2.Current state of special education curriculum:

  The interviewed teachers had limited knowledge about the specific curriculum in special education schools. Information gathered from parents indicates that these schools primarily offer practical subjects such as Practical Mathematics, Practical Language, and Life Adaptation. It remains unclear whether science-related courses are included.

  Learning in regular classrooms and inclusive education:​​

  Placement in regular classrooms is typically initiated by parents. Currently, most public schools in Xiangzhou District allow shadow teachers to accompany students in regular classes. However, school cooperation remains less than ideal, and some general education teachers still believe that special needs children should receive education in special education schools.

  The key to achieving high-quality inclusive education lies in effective collaboration between general education teachers and special education support systems. Nevertheless, the current integration mechanisms still require further refinement.

• 3.Suggestions for improving instructional activity design:

  Provide physical objects or models to enhance visual clarity. Use more images and short videos while reducing text-heavy content. Allocate more time for drawing and hands-on activities, as special needs children generally show strong interest in operational tasks.

  Suggestions for creating a comfortable communication environment:

  Instructions should be concise and clear; prioritize visual cues over verbal explanations.

  Implement tiered instruction by setting different goals based on children’s abilities.

  Children with weaker expressive skills can communicate through methods like imitative speaking (echolalia), with teachers providing timely assistance.