This thesis reexamines interfaces between art education and the everyday life of children. It is based primarily upon Yasuo Imai's situated perspective surrounding today's school environment and Hiroki Azuma's discussion on the computerization of society and visual perception. Displaying practical examples, it discusses the method and necessity for today's art education to enquire about "what we are" and to use this as a foundation when attempting to capture children's reality.

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This paper aims to clarify that students' discussion, about which of several interpretations of a work is the best or the better one, is effective in art appreciation lessons. The author examined four problems and reaches the following conclusions. 1. One interpretation assumes the other interpretations. What matters in the interpretation of a work of art is not correctness but its validity. These attributes are suitable for art appreciation lessons, for the important thing in the lessons is not the result but the process. 2. While Yasuhiro Iwamoto's class practice has a methodological problem, Yoichi Mukouyama's one is applicable to art appreciation lessons. 3. A significance of art appreciation education is the development of one's ability of visual interpretation. 4. Examining various interpretations of "Mimi wo sobadatete" ("Girl Closing Her Ears to Thunder", The Minneapolis Institute of Arts), an ukiyo-e print by Harunobu Suzuki, the author indicates that the current interpretations are impossible. The author introduced this examination process into a class practice program as an example of art appreciation education through discussion on interpretations. By putting it into practice, the author is certain of the effectiveness of discussion in art appreciation lessons.

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From early days, the researchers of Harvard Project Zero also specified as a U-shaped development the phenomenon in which the loss of artistic and creative properties in children occurs, as seen in childhood. The 1997 spring version of Studies in Art Education, a journal of the NAEA (National Art Education Association), features the discussions on the studies of U-shaped development. In the interesting experiment method by Jessica Davis, evaluation standards related to artistic properties such as (1) Symbolic vehicle, (2) Composition, and (3) Expression are seen as derivatives from the studies of metaphors by Gardner, etc. In this paper, issues in the background of the judgment evaluating the pictures of children in the additional tests by David Pariser and Alen van den Berg, various differences in viewpoint and the criticism of the emphasis on Gardner's enthusiasm for abstract expression are focused in discussions, and then, the study of U-shaped development was verified.

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The purpose of this study was to inquire into the visual environment surrounding junior high school students in light of visual culture. The study implemented the literature review regarding definitions of visual culture and its trend background and a field survey of the influences of the visual culture on junior high school students. The review showed that the nature of the visual culture study is the interdisciplinary one and encompasses from art history to a more popular culture including media and performing arts. The survey showed that junior high school students inclined to show preferences toward so-called low art forms and popular culture ephemerals. The visual culture art education intends to have a critical judgment toward visual images in the society and expects students to act as a social-individual transformative self by facilitating critical eyes toward the cultural image. Future investigation is needed to consider the practical feasibility of the VCAE in the Japanese context.

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This paper attempted an analysis of MATISSE AND PICASSO : A Teacher's Guide, provided by the Museum of Modern Art, New York (MoMA QNS) in 2003. One purpose of the paper is to explain the philosophy and methods of education and expansion of the museum, especially regarding the support program for teachers. The paper also attempts to develop an understanding of relations between the museum and school. As a result, it is seen that the Visual Thinking Curriculum of MoMA has a curriculum concept for students at an age of logical thinking. Teacher support adhered to a concrete MoMA concept. The program's clear goal orientation makes it deserving of careful attention from researchers of art education.

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Though its educational effect is expected, you can find few examples of 3DCG as an art education subject in the actual educational scene. In this research, I argued about how to teach technique of expression with enumerating issues, aimed to develop teaching materials by making 3D animation, which can be used in the real class of primary school or junior high school. In this process, as a secondary purpose, I argued about general issues around the instruction of technique of expression in art education.

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This paper is a sequel of the one published in Bijyutsu-kyoiku-gaku (The Journal for the Association of the Art Education)[25]. This focuses upon the historical and social background of the revision of the contents of Zokei-Asobi (Playful Art Study) in the 6th National Course of Study (revised in 1989) and the 7th National Course of Study (revised in 1998). The Ministry of Education (MEXT) has introduced the new viewpoint of scholastic ability and planned to reshape teachers' conventional teaching orientation in the last two decades. MEXT has regarded Zokei-Asobi (Playful Art Study) as a symbol of the new viewpoint of scholastic ability. The literature review of the promoters of Zokei-Asobi (Playful Art Study) was implemented to clarify the fundamental issues involved in the promotion and its undermining effect on art education. This study was funded by a grant from JSPS (#14580288, Category C of Scientific Research, Japan Society for the Promotion of Science, 2002-2004).

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This paper examines the effectiveness of "desiring intercommunication", which was introduced into the 1998 edition of the Ministry of Education's elementary school curriculum guidelines as "expressive content" for the upper elementary school years. Subject matter implemented to date by practicing elementary school teachers and sophomore-year education majors at university was applied in experimental classes of actual fifth graders, which in turn were examined comprehensively. The results demonstrated that "desiring intercommunication" was effective as expressive content in making youngsters receptive to their own issues and conscious of their connection to others.

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The purpose of this research is to examine the case of curriculum management and its significance practically. This practice is carried out at Takehaya Elementary School attached to Tokyo Gakugei University, where the author worked until last year. From before, this elementary school concerned itself with education research, which aimed at "education practice to make with children", and it is making use of that practical principle for the class of the subject and the curriculum organization as well. In this paper, the process of the plan and practice in the "Curriculum to make with Children" is made clear, and also the significance and possibility under the curriculum organization is examined based on the questionnaire evaluation by the children at the end of the school year.

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The objective of this article is to show one case of realizing the idea of "International Understanding through Art Education" that appears in the government curriculum guidelines for junior high school. From this viewpoint, western painting based on Christianity, which seems to be difficult to understand for the average Japanese, is picked as a learning subject. The author proposes "Linkage-Based Art Appreciation, " referring to the chain-like concordance method of the Bible, "Shinkaiyaku Seisho, " as a model for an instructional strategy for deeply appreciating western painting. Its main concept is to connect various works one after another in netlike directions, using motives, the characters, stories, Christian doctrinal themes, colors or compositions as nodes for linkage. Through this, learners might deepen their Biblical understanding and it is also an important part of this learning. In this article, the author shows a definite plan to link up five representative pieces of western painting and gives three instances of his art classes at both elementary and junior high schools and a culture center.

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The main subject of this work applies the mutual act analysis of video data, which the writer has performed with regard to appreciation activities. It begins by presenting the situation of appreciation activities among children at a fine-art museum. Next, a cooperative investigation school is analyzed. In addition to the follow-up survey of stock video, analysis of the comprehensive overhead surveillance video data is included. Since the rooms are all recorded simultaneously, the locus of the children's movement can be grasped correctly. Fine analysis was enabled by this multilayer effect. In actual analysis, it is noted that "stagnation" of people's stream of movement was made in front of a work. When how to be able to do "stagnation" is investigated, the subject of a prior lesson or that day, the friend who is on that occasion further, a curator, etc. are a ring. It turns out that appreciation activities are socially systematized while being mutually materialized as a boundary. Also with other examples, it was clearly shown that social systematization occurs when two or more resources are mutually materialized. Moreover, a teacher, a surveillance member, or a friend are mechanisms or directions that assist in the description of a work, and visualization takes place through this relationship. Appreciation is socially systematized and based on various resources. In children's appreciation, it is reserved content such as knowledge and history. Because this draws attention to the multilayered resource, it is necessarily taken into account in the design of this study.

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This study discusses art education for life-long-learning society based on the case study of a collaboration workshop. The workshop is conducted as a collaboration project by Hyogo University of Teacher Education and Tatsuno Vocational High School. There are two workshops in which Hyogo University of Teacher Education is deeply involved : Workshop D, a new practice for parents and children, and Workshop A, the serial project for adolescents and adults directly conducted by Hyogo University of Teacher Education. This study is focusing on Workshop A in which the participants were sent some questionnaires to measure how their awareness changed. Through the observation of the workshop and the results of the questionnaires, this study can suggest something necessary for future art education, like the created significant meaning, the way and contents of art learning.

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This research is a practical application of art education, and this paper is the fourth report on it. This time I focused on teaching appreciation, leading the students using the method of "comparison", starting with the definition of "creation" and moving on to appreciation. Then I planned and executed classes using that method. As a result, the students chose projects freely based on their own interests, compared projects, and were able to develop a new "creative understanding" through interpreting what they had made. Along with being able to confirm visible changes in the students through this study, the effectiveness of this method was clearly evident.

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In Singapore, the new syllabus of art and crafts for primary schools was implemented in 2002. In the former syllabus, the art activities represented typical art areas, such as picture making, design, 3D activities, handicrafts and art appreciation, and in each grade, the general themes reflected Singapore's multi-racial/cultural society. However, such characteristics were not incorporated into the new syllabus. Instead, it is intended that students understand and create the value of art culture in the social context according to the three initiatives of educational reform, which are : national education, thinking skills and information technology. The revision of the syllabus of art and crafts, which was designed in this new stage on government principles of national integration and knowledge-based economy, can be regarded as still in trial.

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We see many children today are caught up in the circumstance of "communication insufficiency". This study provides an account of what kind of situation enables an event where these children are able to gain their communicative relationship again and start to voluntarily "speak out" while addressing others. As a case study, I have taken up an attempt of art activities proposed and practiced by the composer Makoto Nomura, which is named "Syougi Composition" (after the Japanese board game Syougi). I found in this practice a possibility of "expression" as a communicative response, which can be created by giving an affirmative and approval to individuals' "differences".

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This study is a result of examinations about educational effects of abstract thinking on plastic art, which were carried out twice in 1986 and 2003, respectively. First, I gave five lessons to students for the whole of 1986. The first one was "landscape painting" as a text to teach how to depict specifically. Further, I advanced the lessons to the second and third ones in order to develop the first one with a keyword of "extraction of elements", and gave the students the final lesson of "plane structure". Based on this series of lessons, I will debate where sources of pictures to be generated are by leading the establishment of abstract painting. In the second examination conducted in 2003 on the same topic, I narrowed the number of lessons to three and comparatively examined qualitative changes among students, which had taken place for 17 years. I believe that such an examination makes it possible to radicalize the issue of what is important in the future for art education.

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In my research named 'Arnold Bode and Documenta Kassel with Respect to the Second Generation of Bauhaus' (2002/3), the process of the development of documenta in these early stages was realized from the point of pedagogy of art education. The first documenta in 1955 was prepared by one member of Hochschule Kassel, Professor Arnold Bode. At that time, he realized one concept for an international art festival of modern artists who were 'degraded' by the Nazi-regime from 1933-1945. With the cooperation between Bode and Werner Haftmann in Kassel, the second and third art festivals (expositions) were held in 1959 and 1964. The second generation of Bauhaus and informel artists participated in its realization. After their success, many artists attended the documenta. In my research in 2003/4, (1) short sketch about German artistic and art-educational activities by the second generation of Bauhaus, and (2) structural analysis about them, 25 Kuenstler auf den Spuren von Zen 49 (1989), Ferdinand Ullrich(Hrg.) : Kunst des Westens. Deutsche Kunst 1945-1960 (1996), and Kunstschulreform 1900-1930 (1977) were utilized. In the research, the following were analyzed and sustained; (1) half of the qualified modern artists in 1950-1960 were members of the group 'Zen 49', (2) most of the organizing members of 'Zen 49' were sons and daughters of the reformative school in the 1920s. The second generation of Bauhaus as a historical category has participated in the art movement named 'Zen 49', got new gigantic energies from the 'informel' movement, was committed to the early documenta Kassel, and taught new categories of various artistic expressions in many German art colleges. We did not have the historical image of the expansion of Bauhaus pedagogy until now.

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Philosophers and aesthetes in Japan have studied poietics, the origin of which can be derived from the old Greek word meaning to create. But those studies have proceeded from the philosophical viewpoint, not from the artist's viewpoint. Passeron's Poietiques, which is based on the artist's viewpoint, has incurred a few opinions from the philosophical viewpoint. The purpose of this study is to indicate a meaning of poietics from the artist's viewpoint. This paper is an introduction. Studying Passeron's history and Poietiques, and also the former opinions, I induced a new problem on poietics from the artist's viewpoint : that is to indicate the line between artistic creations at large and artistic creations by the artist.

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One part of the theme-the word "windshield"-is essentially associated with a mixture of dual images : fiction and reality, outside and in. It thus led to a variety of metaphorical expressions involving outlooks on people, society, cities, etc., primarily inspiring recollections of double interpretations. The word "seeing", on the other hand, played the role of imbuing views of people and reality with sharp insight. What was more important, however, was adopting the linguistic technique of selectively combing two words (terms) not readily linked to the everyday order of things, and having devised and set a theme based on that method. Doing so opened up the artist's rich world of latent memories and imagination and expanded the breadth of subject expression. This approach to devising and setting themes is based on rhetorical theory.

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The purpose of this study is to inquire into the instructional strategy at the introductory stage of the art & craft lessons for teachers to facilitate the fulfilling and self-propelled learning by children. The inter-subjective possession of the assessment criterion between art teacher and children at the outset of the lessons will lead the reflective-in-action type of learning for children by recalling their past learning experiences and knowledge and by setting more meaningful and joyous learning objectives.

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The collaboration between the kindergarten and the elementary school concerning the trial to decrease the number of pupils who are not adjusted to the normal class, is now being watched. Actually, there has been a transient collaboration in the process of developing their educational exchange, however, continuous collaborative activities are few. You can point out the fact that a large number of teachers still do not understand the importance of introducing the coordination to their daily educational field. To make them become aware of the importance of their cooperation, I try to show what effect will be made by the collaboration between the kindergarten and the elementary school. Then, to evaluate its educational effect, I recommend introducing 'calendar making by pupils'.

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There are few people who understand about the fine arts and the molding education currently performed in the schools for the visually impaired. There are two reasons for this. One is the subconscious that blind children and plastic act are not connected. Another is that there is little information about them. In this research, a questionnaire to survey the lesson was administered to the person in charge of fine arts and molding education in schools for the visually impaired all over the country. Moreover, a questionnaire and other investigations were conducted also for the blind. By comparing the two, I would like to grasp the actual conditions and consider the future of fine arts and molding education of the visually handicapped children.

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Based on the questionnaire analysis of the author's former paper, the analysis was verified by practice in class. In this research, the following three points are regarded as important : 1) Quality of "Formative play", 2) "Formative play" in which the learner himself can be conscious of what he wants to do, and 3) "Formative play", which is aimed at learning skills. From the results of the questionnaire by the children after the classes and the valuation of the children's learning by the author, it can be said that a meaningful result had been obtained because the classes cooperated with the art museum, the "view of choosing material and method" established the description of element as the core of activities, and because of the preparation of tools suitable for the processing of natural materials, etc.

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Joseph Beuys who played an important role for a long period in Documenta of Kassel was a student of Ewald Matare (1887-1962) at the Art Academy of Dusseldorf. This research is, based on exhibition catalogues in Germany, Matare's diary and careful studies on various leading researches, such as a doctoral dissertation on Matare's art teaching method which have not yet been translated or published in Japan, to clarify Matare's personality and art, his appointment to the President of the Art Academy of Dusseldorf and his reform plan for the Academy and his teaching method, and further, through my own experience at the Art Academy of Dusseldorf, to try to unveil the art teaching method of Matare and his colleagues who contributed a great deal to the development of the Art Academy of Dusseldorf.

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In this paper I expressed the practice and consideration of education in the field of modeling through practice at the 1st grade A course of senior high school in the day school at Kirigaoka School for the Physically Challenged, University of Tsukuba. I analyzed the plastic figure method and constructed the factors of it as education through modeling, so that everyone can engage in creating real sculpture at the school for the physically challenged. The contents are as follows : 1. Introduction 2. Art education in the 1st grade A course of senior high school in the day school in Kirigaoka School for the Physically Challenged, University of Tsukuba 3. About the education of carving and modeling in fine arts I 4. The practice and consideration of education in the field of modeling in the 1st grade A course 5. Conclusion

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Kanazawa City began a lecture series of Kanazawa Junior Meister School in Kanazawa Institute of Traditional Crafts in July 2002. Kanazawa Junior Meister School practices handicraft education. In this paper, I outline handicraft education and consider its background. I consider handicraft education in Kanazawa Junior Meister School from the viewpoint of the foundation process, an educational idea, and a curriculum.

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This paper aims to make a comparative study of the difference in cultural backgrounds and ideas of the "sketch" between Japan and Britain through investigation of the "sketchbooks" collected in British secondary schools. The study consists of the following four points : (1) the concept of the "sketch" in Britain, (2)"sketchbooks" and art education, (3) individual "sketchbook" and brain storms, and (4) the relationship with the art education system in Britain and its evaluation. The preparatory research is based on Watanabe's interviews with the artists about the present conditions of British art under "the interaction between 'body' and 'place'". While Watanabe took charge of collecting the related data and supervising "Poietiques", Niijima surveyed the details of individual descriptions in the "sketchbooks". In the end, focusing on the relationship between the creator's "personal body" and art education, we would like to reconstruct the peculiar wisdom of "study of artwork" which underlies in creating and narrating works.

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