Although many practical studies on incorporating contemporary art into art education, and on its usefulness or forms of expression exist, these studies have different objectives. Therefore, here, we will analyse papers that deal specifically with the incorporation of contemporary art into art education in Japan, organise the relevant accumulated research, and report on trends and issues. Regarding the method and scope of gathering literature on this subject, we searched the academic information database Cinii, targeting the period 1958-2017. We identified the relevant literature using the keywords ‘contemporary art’ and ‘education’, and found 100 papers on this topic. These papers were categorised according to period, subject, theme, and the issues investigated. We will analyse papers that deal specifically with the incorporation of contemporary art into art education in Japan, organise the relevant accumulated research, and report on trends and issues.

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The purpose of this study is to investigate both the formative influence that Sadajirō’s Euro- American observation tour (henceforth, Euro-American tour) had on the development of his career as a critic, and the circumstances that led him to take the Euro-American tour. This study was based on a review of magazine articles that Sadajirō wrote before and during the war, literature concerning his life during that period, and his postwar memoirs. It became evident that the Euro- American tour had influenced Sadajirō’s decision to build a career as a critic. Furthermore, his experience in the Esperanto movement and the financial support he recieved from his wife’s family were essential prerequisites for the circumstances that led him to take the Euro-American Tour. His experience as a social education research student encouraged him to join graduate school, where the Japan-America Student Conference (North American experience) would directly motivate him to take the Euro-American tour.

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After World War II, teacher education policy in Japan shifted their emphasis of specialized education courses from liberal arts towards teacher education departments, in the process establishing a human institutional foundation of art pedagogy. Despite the change from normal teacher’s schools to teacher’s colleges, specialties in art education were not recognized. The designation of art education within the teacher training system from 1964 to 1978 brought only an appearance of specialization in art education. This condition allowed for delays to teacher placements and a lack of coordination with research in art education. However, a decision by a committee in the Ministry of Education saw it officially recognized in examinations of teaching studies careers of those entering graduate schools in art education from 1968 to 1999. A human institutional foundation of art pedagogy was established as a result despite differences among university staff regarding the need for graduate schools.

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This study turns its attention to children’s art activities and their relationship to the surrounding space, comparing zokei-asobi with picture and three-dimensional practice and identifying relevant features from the viewpoint of differences in expressive realm (genre). For observation purposes, space was divided into the “space of place” unique to a particular location, and “art (zokei) space” newly created by art activities. Zokei-asobi was characterized by an openness of space in which the “space of place” was linked, unmodified, to “art (zokei) space”. In pictorial and three-dimensional thematic expression, conversely an independent space ― an “art (zokei) space” influenced by aesthetic awareness from an image of what the child “wants to express” ― affects the “space of place.” The orientation of the work’s expanding of space initially differs between the genres, however with both types of activity, there is a renewed, intimate recognition of the connection with space in art and craft expression.

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The present study is a continued research into teacher’s utterance in arts and crafts・art classes. This research empirically clarifies the characteristics of arts and crafts classes and art classes at different school stages like schools of elementary, junior and high schools through the comparative analysis of teacher’s utterance. As a result of comparing the three subject classes, it is confirmed that the concepts handled in classes become abstract and advanced as the school age goes up. At the same time, a lot of utterances of teachers who relate to concrete materials and tools are seen although they respond to what children want to express in arts and crafts classes in elementary schools. Whereas, in the classes of junior high schools, a lot of utterances of teachers are found to encourage problem solving in students with a focus of attention to formative perspectives and in high school art classes, this research has found the equality is important when teachers are involved with groping for the egos of students in the mid-term of the young.

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This is an ongoing study of teacher performance in arts and crafts classes. To date, we have derived 8 component elements of performance to examine the evaluation methods of performance and effective performance. In addition, we confirmed the effectiveness of the evaluation system by comparing classes based on performance. In this study, we recorded the evaluation results of 45 participants undergoing class observation of teacher performance, using PF-NOTE. Next, we used the transcript to analyze the evaluation viewpoints of the participants about highly evaluated scenes and compared the findings with past study results. We then confirmed the usefulness of PF-NOTE in preparing models and marks of the performance, and suggested the possibility of PF-NOTE in class evaluation.

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This study defined collaborative artistic acts that forge a relationship between life-world and art based on the characteristics and essence of art practices within contemporary art. It clarified the process of generating empathetic dialogue vis-à-vis artistic acts simultaneously made a social interaction. First, this study defined collaborative artistic acts based on eleven contemporary art styles related to artistic acts causing a social interaction. Next, I analyzed the collaborative artistic act of “Leaving traces at the beach” using the definition as the framework for interaction analysis of both the transcript and image fragments. The case analysis revealed that the emergence of larvae from holes in the sand had triggered a social interaction and an empathic dialogue in which humans and larvae coexist with each other.

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This study examined the possibility of Arts-Based Research (ABR), which is drawing attention through historical and conceptual reviews in international art education research. ABR is a progressive process in the development of new theories and methodologies of arts education which are inherent and embedded in the characteristic of arts and aesthetic domain of human experiences. ABR generates new knowledge and insight for inquires through the process of inquiry / research via sensing, expressing, reflecting and writing as combined methodologies of arts and research. ABR attempts to bridge the gap between arts education and other sciences. It makes the unseen visible, brings inquiries to awareness and empowers them. Under the interconnected and globalized education settings, many countries share common issues. It is necessary to consider such international research trends and examine the diverse context of art education within Japan, as well.

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This research positions image media expression involving relationships and interactions with others as “image media expression based on collaborative learning.” The ultimate goal of this research is to clarify the educational effects of “image media expression based on collaborative learning” from the perspectives of students’ learning behavior, social behavior, and human development. In this article, the principle of collaboration was outlined, and some results from the practice of “Mobilemovie” for high school students and the verification of its educational effect were reported. A questionnaire survey was conducted concurrently with practice, and students’ perceptions about learning were analyzed. As a result, the four-factor structure consisting of “Endogenous learning by collaboration,” “Promotion of creative activities by inspiration from others,” “Understanding others,” and “Individual-oriented” was shown as the actual state of learning of students. The research also demonstrated that this practice caused positive and negative effects.

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The author has proposed a gift exchange system theory of art pedagogy instead of today’s “overly humanistic” art education theories that emphasize only children’s inner realities. This paper clarifies the structure of the elements and the operation of the system by discussing the following three points: 1. Teacher-centered practice, 2. The distinction between inside of school and outside of school, and 3. Scientific and aesthetic logic. Moreover, by introducing the concept of a reference source, the structure of the gift exchange of art pedagogy is further clarified. A reference source is made with a deepening vertical stratum in a teacher’s mind and those of children, whereas a gift exchange system is horizontal.

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The purpose of this essay is to explore the effectiveness of IBDP, related to the currently ongoing reforms in high school/university articulation, by making clear the characteristics of the evaluation of the International Baccalaureate Diploma Programmme through literature research or field study, and characteristics of IBDP and Art, Crafts and Design of British GCE-A level through the comparison of the contents of evaluation purpose between them. There are art assignments for two external evaluations and one internal evaluation, and the students’ daily attitudes in class are evaluated as they are in all evaluations. Both IB and GCE-A level utilize the grades in high school as a qualification for university enrollment. IB applies evaluations of art and other subjects to university entrance examinations. It is confirmed that IB is effective also in Japanese education for the continuity of study between high school and university and the establishment of broad academic ability.

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This study examined the way junior high school students appreciate art and developed a hypothesis that helps to better understand this process. Previous studies concluded that third to sixth grade elementary school students appreciate art from the perspective of two senses of self: an empathizing self, who relates to the work of art by identifying with the characters portrayed therein; and a rational self who perceives the art as a creation and appreciates its respective expression method in an objective manner. Our results have shown that the empathizing self takes precedence among third to sixth grade elementary school students. However, focusing on junior high school students in this study, we found a stronger empathizing self among seventh grade students; however, from the eighth grade (second year of junior high) onward, a reversal phenomenon takes place in which the rational self becomes dominant. This diversion, beginning in the eighth grade, coincides with the developmental stage as defined in other areas of research.

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This study considers how proper teaching materials can help students in arts and crafts classes to develop original ideas, and continuously create art based thereon, as a way to actively engage with people, things, and events: specifically, focusing on clarifying the requirements for this important type of educational support to this end. First, the author hypothesizes several requirements for such teaching materials based on a behavior analysis of a special-needs child during an arts and crafts class. Next, the author validates these requirements by analyzing her behavior in a subsequent class, which utilized new materials developed based on them. One of this child’s traits was an inability to independently engage with people, things, and events, attributable to her special-needs status. Optimizing the direction and orientation of educational support for such children is essential to mitigating the difficulties they face in their already challenging lives.

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In this article, a model of a significant function for art education in multiracial and multicultural societies was presented as ‘the visualisation of ethnicity and creation of national art culture’. Almost all Asian countries include various multiracial and multicultural societies, and people acquire their identities in both meanings of ethnicity and nationality, especially in Southeast Asia. Although the way to treat the balance between the ethnic cultures depends on the countries’ policies, this study revealed that ethnic cultural values have been nurtured in school education through the function of art education, which stimulates people’s perceptions, visually and haptically, in Indonesia, Malaysia, and Singapore. The study confirms that art education has functioned to create ‘national art’, which has spread a sense of national identity as well as ethnic identity in these three countries.

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In this study, based on a hypothesis that students’ activities at the development part of practical skills subjects are supported by the quality and quantity of teacher’s speeches in the introductory part, practical skills classes conducted by young teachers in their first year of employment were analyzed with qualitative data analysis software, using their video data. The results clarified that speeches are classified into “enriched introductory part type” and “simplified introductory part type” and that there are cases where students’ activities are encouraged by speeches of “Instruction” and “Question” regarding evaluation in the developmental part and evaluation is made by a speech of “Agreement.” In arts and handicrafts, it has been confirmed that classes need to be conducted, presupposing “enriched introductory part type,” and it is considered that young teachers should be taught to give an effective speech in the introductory part through trial lessons in teacher training class.

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This paper researched the establishment and the deployment process of handicrafts in elementary and higher elementary schools in Ehime prefecture from the survey of handicraft education related materials seen in the Ehime education association magazine for four years and four months from “Revised Elementary School Ordinance” in 1907 (Meiji 40) to “Revised Elementary School Ordinance” in 1911 (Meiji 44) in the dawn era of constructing Basic Handicraft Education by Shimekichi Abe (1936) as the target period. As a result, nature of handicrafts has come to be discussed again as a subject having characteristics as practical education. In the background, there was an ideal of strengthening national power after the Russo-Japanese War, and further towards the First World War. Meanwhile, Ehime prefecture normal school-affiliated elementary school had been conducting the educational guidance of children by adding their own guidance plan, while conforming to “Handicraft Textbook ABCD for Elementary School Teachers.”

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Section 1 asks exactly which methodology-alternative selection, or bilateral-allows for a greater “taste → taste” binomial link, i.e., the highest order of aesthetic receptivity experience. In order to grasp the actual state of receptivity to aesthetic properties, and conduct a practical investigation of the pros and cons of each methodology, incidences of receptivity to aesthetic properties were applied as a gauge. In particular, a comparison was made, from the viewpoint of differences between figures for receptivity to taste properties as value properties, and alternative selection found to be superior. In Section 2, in the cases of both methodologies, greater content is achieved in terms of interpretation of the works and value judgment, however the particular focus was on the different aspects of the educational outcome. That is, observations were attempted via classification: examining the state of class properties while aiming for qualitative unity. Summing up validity as a practical methodology, it was found that alternative selection helps to achieve more in terms of the experience of aesthetic receptivity, however when it comes to interpretation and value judgments, these are more encouraged by the bilateral method. alternative selection, bilateral selection.

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The purpose of this study is to analyze the drawing themes utilized for early childhood education in Japanese preschools. The results of the investigation revealed that the drawing themes should correspond to children’s development in terms of representation. The following two hypotheses were presented: First, younger children are dependent on the actual context and representation of objects. Hence, drawing themes for children aged between 1.5 and 4 years should be directly related to shapes and colors, should include varied materials and play, and should be presented as events in the here and now. Second, children aged four and above do not depend on the actual present context. They acquire the ability of thought through words and metacognition. Thus, drawing themes for children older than 4 years should correspond to verbal cognition and meta representation to be able image across time and space.

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This study investigated “replay training” to identify the educational significance of “artistic play activities” by involving teachers in play, observing the effects experienced and challenges faced by participants. A follow-up survey was conducted with three training participants who practiced “artistic play activities” in the educational setting. This paper summarizes challenges faced by them during the three workshops and discusses the effects of “replay training” on the participants. A SCAT qualitative data analysis method was used alongside two methods of transcribing and classifying the survey response content. Results showed that the effects of “replay training” included responses “I realized the characteristics of play,” “I acquired a child’s point of view,” and “I prepared problems out of questions for evaluation.” Additionally, a vision for future research was obtained, including providing opportunities for children and teachers to play together.

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This paper aims to clarify the new role of art appreciation in today’s media-saturated life, in which sensibiliy, mind, and body are affected. Firstly, it analyzes arguments from aesthetic and media theory and identifies problems inherent in everyday media experiences, including possible effects of daily reception of visually- and linguistically- encoded information on sensibility and intellect; the individual profiled as user, controlled through the capture of attention and desire; and insensitivity to otherness on the other side of the huge attention paid to popular videos and topics. It defines these problems as hindrances to the individuation process which should be supported by the inheritance of a collective history and an openness to otherness. Finally, it argues for the effectiveness of art appreciation through dialogue in supporting this process, and along with sample lessons, proposes a method to use the distinctiveness of art as media open to both others and otherness.

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This article reports on the articles of Haruyasu Kuji in order to clarify drawing education in Hokkaido before Jiyuga Education. Kuji, who graduated from the Teachers College of Sapporo in 1915, was an elementary school teacher in Muroran and Sapporo when he wrote the articles. This study identified 4 opinions regarding drawing education: 1 Kuji (1917) criticized the attitude of teachers who aimed at Ringa in drawing class. 2 Kuji (1918) said that the rules for teaching drawing were not clear, and the principles underlying the compilation of Shintei Gachou spread a wide cloth; that is, was boastful. 3 Kuji (1921) said that many teachers gave makeshift classes of drawing in Hokkaido before Jiyuga Education. 4 Kuji (1922) thought that many teachers were not eager towards drawing education, and many of them felt anxious about using Shintei Gachou after their publication.

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This paper analyses and examines Fuji Goyosaku’s research process for teaching aids for both manual arts and science, and reveals the following three points. First, Fuji developed manual arts teaching aids compliant with science textbooks. Originally, experiment equipment, toys for demonstrating the laws of physics, and other aids for teaching science did exist, but textbooks were rarely referred to. Second, he researched teaching aids in education for young children. Originally, manual arts teaching aids related to science were often assigned from the upper grades of ordinary elementary school to higher elementary school, as well as in middle school, but Fuji conducted research on teaching aids that kindergarten children could handle with their level of skill. Third, Fuji proposed educational methods with the aim of getting work in industry. He went beyond the category of school education to practice courses for nurturing product development skills in industry.

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The legal binding force and enforceability of National standard now extends to classes related to teacher training in courses at the university due to the core curriculum of teacher-training courses. Such was the context in which we examined the National standard in principle in terms of how they related to curriculum standards. Based on the subsidiary principle, which is specified in the Constitution, we determined the ranking of Japan’s National standard in comparison to those of other countries and found differences in opinions between the executive, judicial, and legislative branches. In addition, we analyzed art education National standard, which revealed the following issues: (1) internal intervention, (2) that descriptions of teaching methods are being written in increasingly finer detail, and (3) that contemporary art and design that is not based on plasticity is spoiled.

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At the 70th UN General Assembly in 2015, the Sustainable Development Goals (SDGs), were adopted unanimously with the aim of achieving the targets in 17 fields by 2030. In art education, in addition to the traditional activities of appreciating domestic and foreign cultural heritage, which are topics to Education for Sustainable Development (ESD), various textbook themes that address ESD are also generated by expressive activities. After analyzing the current textbook material, the “Present and the Future which Change by Design” was practiced by students in the third grade of junior high school. The language written in the free description section of the worksheet was analyzed before and after the class by text mining. This showed the tendencies toward change in the student’s thoughts. Thus, we clarified whether the students had a viewpoint related to the creation of a sustainable society.

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This paper considers the influence of the emotional effect of color on the expression of imagination. The author chose 213 first grade students at a junior high school to which the author belongs and separated them into two groups: one group learned to perceive the emotional effect of color, and the second systematically studied the color system. Over four weeks, they were then told to produce artwork using the theme of the character and mood of the other students. The way the students evaluated their own and each other’s work, the phrases used to explain their evaluations, and the number of colors used were examined to investigate the trends in the creative ingenuity of the students. We found that students who perceived the emotional effect of color had a stronger tendency to express their imagination and students who had a systematic understanding of color tended to use more colors.

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This study raises the following goal-setting issues when providing guidance for art courses to children with multiple disabilities: (1) creating indexes that consider disability characteristics and clarifying the procedure to establish these goals, and (2) creating a cooperation system between the MT (Main-teacher) and ST (Sub-teacher). A rubric-based class design sheet aimed at resolving these issues is then developed. A qualitative analysis of guidance records along with MT and ST discussions resulted in the following factors that indicated the effectiveness of utilizing this sheet for both issues: (1) the sheet creates a rubric unique to the learning group, and visually indicates the guidance objectives and measures taken to set goals that originate from this rubric; and (2) by elucidating the objectives of the art course to the ST and raising their awareness regarding participation in the guidance, the ST can contribute unique information as a homeroom teacher.

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This case study focuses on Japanese international cooperation with Latin America in the field of education for art and design. The previous study made clear that JICA volunteers’ consciousness transformation during their activity is important in order to lead to a technology transfer. The current study found out that two factors significantly affect this transformation: partaking in activities outside of duties and deeper understanding of the local culture. These elements develop awareness among local teachers, students and parents. In addition, it is revealed that about 1/3 of the volunteers successfully accomplished these two factors and the structure to lead to a technology transfer for art and design by cooperation. These were analyzed mainly by qualitative study with an inductive logic from different angles that were considered factors in the cooperation activity to lead to a technology transfer.

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