This chapter, employing a Chinese apprenticeship framework, investigates how kindergarten teachers learn process drama through a drama partnership project. The study was conducted in 115 kindergartens in Hong Kong, involving 15 headteachers or assistant headteachers, 66 schoolteachers, and 7 teaching artists. Focus group interviews and field observation were adopted as data collection methods to explore the teaching and learning of process drama through arts partnership. Findings from the study reveal four prominent themes related to process drama teaching and learning strategies. These themes encompass various aspects of the partnership between the teaching artists and schoolteachers. The theme termed “modelling-practice” refers to the beginning of the partnership in which the schoolteachers regarded the teaching artists as role models and sought to imitate their teaching practices. The theme of “preparation, feedback, and revision of the drama lesson plan assignment” is akin to the process of tutorials and assignment marking since the schoolteachers submitted their lesson plan drafts to the teaching artists for review and feedback. As the partnership progressed, the theme called “Yan-Shi’s intervention and mind-blowing learning” emerged wherein the teaching artists assumed the role of strict teachers or authoritative masters to push and motivate the schoolteachers to engage in deeper learning and enhance their professional practices. The last theme “re-contextualisation and theorisation of process drama” highlights how the schoolteachers were able to utilise their own perspectives, knowledge, and language to conceptualise process drama and integrate it into their school-based curriculum. These identified themes illustrate the high levels of engagement and dedication demonstrated within the drama apprenticeship model. Despite the limited evidence of co-teaching or creative exchange practices commonly advocated in Western contexts, the study demonstrates the effectiveness of the Chinese apprenticeship framework in process drama learning. In particular, it emphasises the significance of considering cultural appropriateness when examining pedagogical borrowing. In this regard, the study proposes a hybridised approach to arts partnership for teachers’ professional development which would encompass both traditional Chinese apprenticeship frameworks and Western innovative teaching practices. This research contributes to the field of arts education whilst accentuating the role of different cultural perspectives in shaping pedagogical approaches.