This research (Part 2) evaluated the Sozo-Biiku Movementʼs significance in Japanese art education history. We considered its promotersʼ aims and the extent to which these have been achieved, comprehensively evaluating it in conjunction with Part 1ʼs results. We pointed out that 1) the movementʼs historical significance is only recognized for a short period after World War II (until the mid-1950s), 2) and its impact stemmed from its discontinuity with historical context; this became a disadvantage as the times changed. Furthermore, 3) the teacher-led, unified movementʼs failure nixed chances of restoring continuity with historical context. 4) The factors that could hinder such continuity were (a) the nature of the movement organization, (b) the leaderʼs dilettantism and charisma, and (c) the early nationwide seminarsʼ success. Furthermore, if the teacher-led, unified movement had continued, a different historical continuity-restoring development could have occurred.

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This paper elucidates the establishment of art education at the Osaka Kyoiku University. Art teachers employed at four normal schools move to the university, and they insisted on art education based on practical art skills. Like many universities, there were no specialists in art pedagogy. And five basic art-related subjects, offered in teacher training colleges and faculties in February 1964. In April of the same year, Keitoku Minoru joined as an art teacher at the University and was advised to accumulate practical art skills by elder teachers. In 1968, the Osaka Kyoiku University establish a graduate school of education. Due to dissension with the academicisation of art by practical art teachers, the establishment of an art education major was delayed. However, through Keitokuʼs efforts, that major established. Its own art education research centered on contemporary art theory, rather than practical art skills, and produced many art education researchers.

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This study explores the theory of open form and its application in educational and architectural spaces to help develop art education that focuses on space and place. It relies on two key sources of data: an interview with the curator of the Museum of Modern Art in Warsaw and a review of Oscar Hansenʼs work. Several key themes arise from the data analysis, including the need to address hierarchical structures in education, foster dialectical approaches, align with avant-garde movements like Metabolism, and reference Japanese architectureʼs ambiguous boundaries. These findings provide direction for future research in Japanʼs art education, such as reexamining space and place through open/closed perspectives, emphasizing everyday living spaces and architecture, and enhancing the flexibility of the art education system to strengthen societal connections.

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This study presents a project aimed at producing a video introducing the museum as a “performer” rather than a fixed position where disabled people are “specially” invited. We critically reconsidered the positioning of disabled people in museums using Robert McRuerʼs Crip Theory as a theoretical framework. During the video production, ten people, including disabled people, collaborated and were involved in the project in a participatory manner, engaging not only in the video appearance but also in discussions regarding the content. The completed 4-minute, 40-second video was posted on the official website of the Hiroshima Prefectural Art Museum. This study proposes a direction for art education research, positing that the relationship between disabled and non-disabled people changes according to the definition of disability and that the identity of disabled people should be understood in a structural context.

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After graduating from university, the author (Ishida) has been involved in art education at junior and senior high school for 13 years from April 2009 to March 2022. In his current position, he participated in Japan Overseas Cooperation Volunteers (the followings is referred to as JOCV)(October 2017 to October 2019).His experience working in international art education cooperation in the Republic of Mozambique in Africa is deeply connected to his motivation for this research. This research is a collaborative project to create a picture book that began after I met a JOCV dispatched to the Republic of Mozambique. And itʼs a practical research on the theme of international cooperation by the author at the graduate school of art University. The purpose of this study is to explore and verify the possibility that collaborative picture book production activities in online locations can provide an opportunity for participants to discover clues to solving their individual problems.

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This study is about the childrenʼs art-making characteristics and relationship to place/space through zōkei-asobi (playful art study) undertaken with all 70 pupils of Nishimeya Elementary School in Aomori Prefecture. This exercise clarified the childrenʼs growing awareness of “zōkei (art) space” over their six years at elementary school, and differences in art-making ability. In particular, when it came to perception of zōkei space, a developmental process for art activities was found in which activities progressed from reaching out to the surroundings (“space of place”) in the lower grades, to making stand-alone three-dimensional objects and being aware of art-making space (zōkei space) in the middle grades, and in the higher grades, proactively reaching out even more to the features and space of the place. This could be described as the process of turning “space of place” into aesthetic “zōkei (art) space”.

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This study focuses on discourses and events related to art education, particularly in Nagano Prefecture, from the late Meiji to the early Showa periods. It examines the discourses surrounding “free drawing education (jiyuga kyoiku)” and its proponents, analyzing the characteristics of these discussions and the shifts in their advocates over time. The findings reveal that recurring theories on “free drawing education” share common traits:, such as rejecting copy drawing (ringa) in favor of sketching (shasei) and imaginative drawing (sozoga). However, the primary advocates transitioned from educational theorists to art specialists over time. Furthermore, while the Shirakaba teachersʼ theories and Yamamoto Kanaeʼs perspectives were grounded in artistic philosophy, their fundamental views of art differed significantly differed. Finally, Yamamotoʼs advocacy for “free drawing education” is concluded to have created a framework in which where teachers, as amateur artists, became central figures in art education.

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This study is a continuation of previous research on teacher performance in art and craft classes. We aimed to clarify whether teacher performances, which were highly rated by observers, successfully captured studentsʼ attention by introducing eye-tracking devices as new research equipment. This study also analyzes and describes the performances of the teachers demonstrated in these highly rated scenes. 　Five observers used PF-NOTE to record their evaluations immediately after attending the classes, along with the video footage. Simultaneously, the devices worn by the students were used to record their eye-tracking behavior. We analyzed the points in the highly rated scenes on which the observers focused using transcripts and compared them with the studentsʼ eye-tracking behavior. Additionally, we identified and analyzed moments when the studentsʼ attention was captured, even if the observers did not notice it. We examined the relationship between teacher performance and studentsʼ eye-tracking behavior based on these analyses. We also provided examples of teacher performance that effectively gathered studentsʼ attention and enhanced their concentration.

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This study examines 69 drawings by higher division students at Nihonbashi Joto Elementary School, including those by Kawabata Ryushi in the authorʼs collection, alongside his 60 drawings housed in the Ota City Ryushi Memorial Museum. The analysis aims to illuminate drawing education during the late Meiji period, revealing that these drawings were copies of textbooks by Hashimoto Gaho and Nomura Bunkyo. Teaching methods were analysed by grade level, subject matter, and evaluations. It was noted that subjects were chosen based on the characteristics of the school's commercial district, rather than being constrained by gender. Enlarged copies of models were commonly used, and the drawings exhibited creative and expressive interpretation and modification, challenging the prevailing belief that drawing education relied strictly on reproducing models. The study also highlights the schoolʼs advanced approach to art education.

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This paper examines the effects of introducing dialogue into the conceptual process of lessons on subjects in the design area of the fine arts curriculum, as it is thought that dialogue can expand and deepen studentsʼ thinking. As a result of the examination, dialogue was found to contribute to the elimination of doubts and the determination of direction in situations where people have doubts or hesitations about their own designs or decisions during the planning process. In addition, when doing this, it was found that they did not uncritically adopt the suggestions of others gained from the dialogue but only adopted them if they judged that it would be beneficial to the work after examining them. Furthermore, the dialogue was seen as having the power to transform the theme in the studentsʼ conceptualization process. In particular, such tendencies were found to be particularly strong in students who had doubts about or were unable to make a decision about parts of the work where the direction of the work would be greatly affected.

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This study aimed to obtain clues for fostering a learning attitude that seeks to create new meanings with others in art classes. We used the “Self-as-We Scale” to measure the extent to which students felt the influence of others through their classes. An interaction analysis of the groups were conducted using distinctive quantitative data. Consequently, the following three learning tendencies were revealed. (1) Students tend to feel more influenced by others as they learn to understand how others feel and give meaning to their own work. (2) Depending on the learning environment, students tend to alternate between learning attitudes that seek to create new meanings and those that seek to convey meanings to others. (3) Students who repeatedly examine the meaning of things tend to be more easily influenced by the words of others.

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This study examines the status and challenges in art appreciation through discussion by reviewing empirical studies on Visual Thinking Strategies (VTS). From an initial pool of 200 references, 43 studies were selected based on exclusion criteria. The selected studies were analyzed with a focus on the research design, research areas, and study participants. The analysis revealed that, although empirical studies in medicine and nursing are increasing, those in art education remain limited. Furthermore, many studies have employed one-off interventions rather than a longitudinal approach. Reporting on artwork and discussions is also lacking, and the role of facilitators has not been explored adequately. These findings highlight the need for future research to investigate the long-term effects of VTS, analyze artworks and discussions, and assess the influence of learning environments, including facilitators.

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It was not until 1941 that the Ministry of Education began producing wall charts for drawings and handicrafts, and the Ministry did not publish wall charts for the national drawing textbook Shintei-Gacho, which had first appeared in 1910. In this study, I analyzsed the wall charts and catalogues of wall charts for drawing and handicrafts at the Tokyo Zogakan and Yutokan, and clarified their characteristics. It was found that Tokyo Zogakan and Yutokan produced wall charts of Shintei-Gacho using textbooks for teachers as a reference. This was in line with FUJI Goyosakuʼs idea that teachers should make enlarged pictures of the pictures in the textbook. The Tokyo Zogakan published a sequel to OKADA Shureiʼs popular “Zuan Kakezu” (Design Wall Charts), suggesting the possibility that it was based on Okadaʼs textbooks and writings.

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This study aimed to examine the opportunities adults have to move toward new values through creative modeling activities, and to establish a verification method to reveal the value and significance of adult creative modeling activities. To achieve this goal, a questionnaire survey and observational analysis were conducted in a workshop to disassemble household appliances based on the concept of cultural practices. For the Survey, we conducted distributed a preliminary questionnaire consisting of an attitude scale combining the domains of creativity and aesthetics (hereinafter Creative Attitude Scale”). Next, we conducted observational analysis of two workshop participants who showed a remarkable tendency in the survey. The results showed that the Creative Attitude Scale was effective as a validation method and that awareness of discovered values may be the trigger that changes the way people relate to values.

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This paper is a continuation of and a report of a practical study results aimed at clarifying the extent to which high school studentsʼ understanding of design was deepened through inquiry-based learning in collaboration with local communities by incorporating the social design perspective. Tasks that can be put into practical use in general high school courses were designed and put into practice, and the educational effects of these tasks were confirmed. The analysis of the pre- and post-practice questionnaires and the studentsʼ descriptions of the design process reconfirmed that the tasks deepened studentsʼ understanding of design. Furthermore, the study discussed the necessity of instilling an understanding in students who view design as self-expression regarding the difference between originality and innovation and the necessity of developing tasks including the time to explore the nature of problems in design and the purpose of the design field.

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The purpose of this research is to clarify the function of emotions during artistic activities using well-being as a guiding principle. The research method involves analysis and examination of the previous literature and artistic activities in practice. There is a correlation between emotional function, and the function of qualities and abilities. Because well-being is taken as a guide, it is shown what sort of qualities and abilities are necessary, and the significance arises of perceiving childrenʼs emotional function relating to that. The findings from the literature survey are compared against artistic activities in practice, and the qualities and abilities for achieving well-being are examined based on childrenʼs emotional expressions. As a result, it is found that emotional function generates high-quality learning, and the key elements of learning environment design necessary for that purpose are summarized.

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This study aimed to determine the influence of imitation on their relationships with others among young children in their formative expression and clarify the changes in individual relationships with their environment due to imitation in late childhood. We analyzed by observing the play of two older girls for one year and identifying three factors. (1) Infants transform and develop their own schemas by imitating valuable objects using representations derived from their experiences. (2) Infants learn values from others through imitation and build relationships with them by accepting them. Simultaneously, by being accepted by others, they develop an empathetic sense of self-affirmation and move toward self-expression in secure environments. (3)The repetition of the process of expression through mutual imitation has the potential to create new values for the group. Therefore, imitation in late infancy was considered to have the function of jointly expressing new values created in the context of relationships.

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This study explores the educational potential of the subject on dilemmas in art appreciation in secondary education. In this subject, students were placed in a fictional scenario based on a true story, where they had to decide whether to continue exhibiting a painting that was found to be a forgery, and whether to tell the truth to the public. Each choice posed disadvantages, prompting students to evaluate the paintingʼs value from aesthetic, historical, and economic perspectives, while reasoning through the implications. 　Conducting this study with 13 third-year high school students, and using a qualitative analysis of their worksheets, it was suggested that students were able to consider multidimensionally the value of the painting as an artwork, the responsibility of museums, and the perspective of the audience. This study also discussed the improvement of lesson design, and structure of scenarios and dilemmas.

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M.Urlaßʼs work was included in Joseph Beuys and the Artistic Education (2020), edited by C.-P. Buschkühle. The “artistic education” theory claimed by Buschkühle and other researchers is built based on the “expanded concept of art” of J. Beuys. Urlaßʼ practice and suggestion are also basically in line with this argument of “artistic education.”Urlaß wrote the book which is a report and consideration on the practice of education for about a half year targeting the 1st grade students of grundschule in Germany, dealing with the theme of construction work of a cafeteria in the school.It was an art class in the form of a project-type learning centering on childrenʼs independent activities of expression, contents of which were a combination of art subject and interdisciplinary one.It emphasized on independent activities of individuals based on the life and real feeling of children, which required high skills of teachers.Practice of such education is not easy, but very informative for education practices in Japan.

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