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2024 Volume 45 Pages
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Published: 2024
Released on J-STAGE: September 15, 2024
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2024 Volume 45 Pages
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2024 Volume 45 Pages
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Research on the Sozo-Biiku Movement (4)
Tetsuo ARAI
2024 Volume 45 Pages
001-015
Published: 2024
Released on J-STAGE: September 15, 2024
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This research aims to objectively evaluate the historical significance of the Sozo-Biiku movement in Japanese art education. First, we investigated previous research to grasp issues in past evaluations. It became clear that there was insufficient understanding of the actual situation of the movement and that false images (the Sozo-Biiku movement as illusions) were hindering its proper evaluation. To address these issues, we clarified the overall picture of the movement based on our past research results, and then analyzed the mechanisms that generated false images using specific cases. Based on the above preliminary considerations, we further investigated the influences that the Sozo-Biiku movement had on Japanese art education after World War II and clarified its positive and negative aspects.
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Yoko ARITA
2024 Volume 45 Pages
017-032
Published: 2024
Released on J-STAGE: September 15, 2024
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This study aims to elucidate the three stages of the institutional establishment process of art education at the Toyama University of Education. First, majority of the fine arts teachers, who received common lessons in fine arts instruction, shifted from normal schools to universities. Similar to many universities, no one is a specialist in art pedagogy. Second, the subjects painting, sculpture, composition, and the theory and history of fine arts were established in the 1964 curriculum. In 1975, art education was added; in 1976, Soichiro Hasegawa moved from the subject sculpture and composition. He continued his research on art education and personal research and production of sculpture. Results demonstrated that academic subjects under art education were formally and substantively fulfilled. Third, the Graduate School of Education and its Major in Art Education were established in 1994 and 1996, respectively, which initiated the institutional foundation of art education at the university.
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Core Competencies･Aesthetic Education･STEAM Education
Yun-Chen YEN, Atsuko TAKAGI
2024 Volume 45 Pages
033-046
Published: 2024
Released on J-STAGE: September 15, 2024
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This paper provides an overview of the integrated curriculum currently being developed in Taiwan. It also focuses on arts education provided under the 12-year national basic education curriculum after the 9-year integrated curriculum, including topics such as “core competence,” “aesthetic,” and “STEAM” education. The paper discusses the characteristics of arts education in Taiwan, which seeks clarity in the process of consciousness, rather than the latent processing of cognition, as revealed by a survey of textbooks and instructional materials. It also presents the advantages of and challenges faced by arts education in Taiwan.
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Exploring the Potential for Establishing a Community of Practice through Craft Workshops
Hiroya ICHIKAWA, Tomoki SHOJI
2024 Volume 45 Pages
047-060
Published: 2024
Released on J-STAGE: September 15, 2024
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The purpose of this study is to contemplate the feasibility of inclusive craft education within society. The study classifies craft education into school education, vocational education, and social education. The focus, however, will be on social education, specifically on constructing a craft-based community. Through art-based projects that integrate crafts in daily lives, we conducted action research, opening up opportunities for individuals to engage with craftsmanship. The results indicated the potential for the emergence of a community of practice where individuals share a common interest in crafts. Unlike the traditional professional groups, there is a distinct shift toward rediscovering the fundamental essence of the term “workshop.
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Based on the Literary Works of HASEGAWA (1906-1957), the Mentor of SAWANOI (1916-1990), in the 1950’s
Hideshi UDA
2024 Volume 45 Pages
061-078
Published: 2024
Released on J-STAGE: September 15, 2024
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The author has so far conducted continual empirical research on the practical concept of art education of Nobuo SAWANOI (1916-1990) who excelled as a painter, designer, editor, etc. mainly in the Kansai Region. The central feature of this research is analysis of SAWANOIʼs principal literary works, namely “New Picture-Oriented Play” (1956), a collection of artistic themes, and “Variety of Prints” (1960), taking the historical development of this concept into consideration. The present research uses the findings of this continual research as baseline materials and compares literary works on art education published by Saburo HASEGAWA(1906-1957), a painter considered to be SAWANOIʼs mentor, in the period of post-Second World War reconstruction with the contents of the above-mentioned literary works of SAWANOI in order to explore their relationship. As a result, these literary works of SAWANOI are found to have similarities in terms of overall ideas as well as concrete subject matters with “Study on Teaching Materials for Drawing” (1951) and “Beauty of New Forms” (1951), both published by HASEGAWA, confirming that the viewpoint of HASEGAWA is incorporated into SAWANOIʼs concept of art education.
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Kenichi OOSHIMA
2024 Volume 45 Pages
079-090
Published: 2024
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This paper examines the theory of sketching education putforth by Toshihiko Kubota (also known as Akahiko Shimaki) in the journal Shinano Kyouiku. In this paper, the various discussions on Kubotaʼs theories of sketching, discipline (tanren-do), and arts education are explored, with comparisons carried out with Yamamoto Kanaeʼs theory of free drawing education (jiyu-ga kyouiku). Subsequently, the following conclusions are drawn.
Kubota presented his theory of education via sketching in the year 1903. While aligning with the nationwide movement to improve drawing education at the time, Kubotaʼs theory intertwined with his identity as a poet. When comparing Kubotaʼs theory of sketching education to Yamamotoʼs theory of free drawing, various commonalities in the efforts put to address the issues relating to art education and that of sketching were found. However, some differences in the methodology as well as other aspects were also confirmed.
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Transitioning from the Conventional Post-war Society to the Image of a Production- and Consumption-focused Society
Kazuo KANEKO
2024 Volume 45 Pages
091-102
Published: 2024
Released on J-STAGE: September 15, 2024
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Art education during wartime marked a leap forward from the previous drawing instruction. Other than their wartime themes, the wartime art education persisted into the ensuing period in occupied Japan. To demonstrate that wartime education, although incompatible with the conventional post-war narrative, found continuity in post-war education, I first highlighted the fictional nature of the conventional post-war image. Furthermore, I espoused Yamanouchi’s theory, which posits that a total war system was established during the war, which continued even after the war. Wartime art education exhibited a high level of relevance to a productive society, was carried over into post-war art education. Based on Yamanouchi’s theory, I proposed a novel interpretation that corresponds to the social perception of art education since the 1960s, characterized as a consumer society, and the contemporary art education reflective of a high information society. I proposed a new classification of the history of modern Japanese art education.
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Their pioneering nature and relationship with art education
Mutsuyo KAMIYA
2024 Volume 45 Pages
103-120
Published: 2024
Released on J-STAGE: September 15, 2024
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In this study, the author provides a detailed account of Kurahashiʼs views on childrenʼs painting and his educational theories for the teaching of drawing, as well as the pioneering nature of these perspectives, and an exploration of their relationship with art education. Through this, Kurahashiʼs views on childrenʼs painting and his educational theories for the teaching of drawing are first demonstrated as pioneering in terms of his understanding and evaluation of childrenʼs painting, from a psychological perspective, as a vehicle for childrenʼs self-expression. Additionally, the artistic qualities that Kurahashi expected of childrenʼs painting are those of spontaneous creation arising from the childrenʼs own lives. Conversely, Kurahashiʼs views on childrenʼs painting and his educational theories for the teaching of drawing involved building on these foundations to provide art education in kindergarten as a contribution to cultural education and can ultimately be interpreted as relating to perfection of humanity and cultural development.
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Based on field surveys and stakeholder interviews.
Sachiyo KODA
2024 Volume 45 Pages
121-135
Published: 2024
Released on J-STAGE: September 15, 2024
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This paper focuses on the characteristics and educational activities of the representative museums in Finland that function as social education facilities, namely the National Art Museum of Ateneum, the Museum of Contemporary Art Kiasma and the Design Museum, through field research and interviews with the people concerned. The results showed that these museums contributed to art education for children by: (1) implementing educational extension activities through the formulation and operation of original programmes by specialist staff; and (2) conducting activities in collaboration with schools with support from the national and local governments. Furthermore, (3) the use of ICT provided opportunities for the public, especially those living in remote areas, to come into contact with works of art, and revealed trends in the role of museums and their educational dissemination activities with a view to the promotion of the arts in the country and the post-Corona period.
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Formation and Transformation of Educational Content and Activities
Aya KOGUCHI
2024 Volume 45 Pages
137-153
Published: 2024
Released on J-STAGE: September 15, 2024
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This study establishes a methodology for creating art lessons rooted in teachersʼ art experiences. This paper, as part of the overall study, focuses on two issues: (1) What is the nature of teachersʼ art experiences? and (2): How do teachers form educational content and activities in creating lessons that keep students and the situation in mind? The paper creates a theoretical framework regarding these issues by incorporating insights obtained from practice and relating them to other studies. Teachersʼ experiences are diverse, enabling them to conceive methodologies and providing them with a sense of value. Concrete methodologies are abstracted and systematized as they become the basis for educational content and activities. The abstracted methodology becomes realistic, specific, and individualized for students and the situation. This paper suggests that, for teachers, art experiences go beyond the creation of art lessons.
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Referring to Form Drawing
Yoshie SHIMADA
2024 Volume 45 Pages
155-173
Published: 2024
Released on J-STAGE: September 15, 2024
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This study examines the way forms are perceived in Steiner education and the characteristics of their recognition, using form drawings as a clue. In form drawing, forms are captured dynamically in the phase of generation before they are fixed. However, the way forms are recognized is often described in special anthroposophical terms. This study reconsiders this from the viewpoint of Steinerʼs understanding of Goetheʼs natural science research and considers its contemporary significance based on Steinerʼs theory of the 12 senses. As a result, it is understood that the form drawing activity cultivates the foundation of active cognition, which encompasses the cognition of nature and artistic creative activities, by allowing the subject to experience form as a formative movement and to vividly perceive the forces and rhythms working within the form based on a sense of body (or will).
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Focusing on class situations in which high school students turn difficulties and conflicts into themes for self-expression
Yusuke SENO
2024 Volume 45 Pages
175-187
Published: 2024
Released on J-STAGE: September 15, 2024
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This paper analyzes the process of transforming difficulties into opportunities for learning through self-expression within environments of contradiction. This research focuses on the situations in which the contradiction caused by differences in the subject matter of expression is transformed into growth. It targets situations in which high school students collaborate and appreciate each otherʼs works. Consequently, our observations reveal cases where difficulties that emerge within these environments and interactions were transformed into new perspectives on self-expression and self-awareness. We also found that studentsʼ learning outcomes are influenced by how they respond to these difficulties. Furthermore, we consider that an atmosphere in which people try to find events that differ from their own thoughts and feelings of interest can help them move toward new values.
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Tool Handling Guidance: Continuity between Middle School and High School Curriculum
Yuki TAKANO
2024 Volume 45 Pages
189-200
Published: 2024
Released on J-STAGE: September 15, 2024
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In order to clarify the guidelines for handling tools in the high school crafts curricula, we classified the 2018 MEXT high school curriculum guidelines and tool handling guidelines for Crafts I, II, and III. Based on this classification, we developed a questionnaire regarding participantsʼ experience with receiving guidance in the junior high school arts and technology departments, and conducted a survey with first-year high school students. One-way ANOVA analysis of participantsʼ results indicated that even among the significant variance observed, the average value for “feeling a tool as an extension of my body and being aware of my senses” was low, while the average value for “having received guidance on tool management such as maintenance and tidying up as well as setup and safe handling” was high. These two findings appear noteworthy in terms of instructional guidance for high school crafts curricula.
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Plan for Students to Have Questions
Takanori NIINO, Minami FURUYA
2024 Volume 45 Pages
201-218
Published: 2024
Released on J-STAGE: September 15, 2024
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This paper is a continuation of the research on constructing teaching methods in art education for proactive learning. We proposed the following methodology: ① A parallel relationship between student learning and teacher instruction was premised. ② Structuring the diagram for studentsʼ proactive learning and representing it as “?→ !” ③ Considering teaching methods while applying the diagram to correspond to the learning structure. Therefore, we planned and implemented the lesson, and demonstrated how the proposed methodology was useful for lesson structure and teaching methods.
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Focusing on Wallcharts Published by the Ministry of Education and the Tokyo Shugado
Yuri MAKINO
2024 Volume 45 Pages
219-230
Published: 2024
Released on J-STAGE: September 15, 2024
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This study analyzes the catalogs of wallcharts for drawing and handicraft education published by the Ministry of Education and the Tokyo Shugado until 1941, and clarifies their characteristics. The “Lines and Measures Chart,” “Forms and Solids Chart,” and “Colors Chart” published by the Ministry of Education in the early Meiji period were modeled on the “School and Family Charts” published in the United States. Although the “School and Family Charts10” deal with drawing, it was found that the Ministry of Education did not reprint or publish it as wallchart. An analysis of the “Tokyo Shugado Publication Catalogue” published in 1940 revealed that an enormous number of 430 drawings and handicraft wallcharts had been published. Some of the wall charts for handicraft education were created by Ohtake Setsuzo, who explained that the wall charts further enhance the effectiveness of the program. At that time, teachers of drawing and handicrafts were encouraged to make their own wallcharts. In practice, however, some teachers found it difficult to create wall charts. I concluded that wallcharts according to textbooks and teacherʼs manuals published by private printers and publishers, including Tokyo Shugado, were essential for teaching drawing and handicrafts.
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Kyohei YAMASHITA, Yoshiyuki NAGATA, Ayaka MORI, Naoki MIZUSHIMA, Masas ...
2024 Volume 45 Pages
231-243
Published: 2024
Released on J-STAGE: September 15, 2024
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This paper focuses on CONNECTEDkind (hereafter “Ck”), a learning that was created during the uncertain times of the COVID-19 pandemic. Ck is a practice of sharing with others drawings based on natural objects and their shadows.
This study is in the preparatory stage of scientifically investigating the learning effects of Ck, with the goal of examining the brainwave of participants during the practice.
Brainwave measurements were conducted on four Ck participants, revealing two distinct brainwave patterns. It was found that participants exhibited similar tendencies in their drawing styles and completed artworks within each respective brainwave pattern.
Additionally, a survey of approximately 100 Ck participants showed that many of them experienced an improvement in imagination, increased interest in others, and a heightened sense of connectedness with nature.
These findings suggest the potential for advancing our understanding of the learning effects of Ck through this approach.
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Keiko YAMANAKA
2024 Volume 45 Pages
245-258
Published: 2024
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This paper examines the relationship between children’s preferences for play involving formative activities and their interest in learning academic subjects. A questionnaire survey was conducted on 185 children in the early grades of elementary school, investigating their preferences for six types of play involving formative activities and their preferred subjects. Approximately 50% of the children in the sensory play group preferred physical education; approximately 60% of the children in the making things group preferred arts and crafts; and approximately 40% of the children in the pretend play group preferred music. This indicates a correlation between the characteristics of play involving formative activities preferred by children and learning styles of their preferred subjects. In addition, the question about “things made in early childhood” suggests a relationship between comprehensive activities related to formative expression and children’s memories.
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Takao YUKI, Hisanori MURAKAMI, Naoyuki ISHIGA
2024 Volume 45 Pages
259-269
Published: 2024
Released on J-STAGE: September 15, 2024
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This study analyzed the effects of viewing experience from data on eye-tracking and pupil measurements. A total of 103 junior high school students were divided into two groups: one group watched the same work twice for 5 min before and after the viewing activity, and the other group watched the same work twice for 5 min without the viewing activity. A visual questionnaire on the attributes of the subjects was conducted and analyzed in addition to the measurement data. The following three perspectives were set as the hypothesis: the impact of the viewing activities would be (1) more detailed viewing, (2) more extensive viewing, and (3) longer viewing. The results confirmed the influence of the three perspectives on the data obtained from the subjects. The data reflecting the objective state of the subjects revealed the state in which the viewing activity had an interest-provoking influence on the subjects.
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Learning Through‘Trick Art’
Yuki YOKOYAMA, Satoshi IKEDA
2024 Volume 45 Pages
271-286
Published: 2024
Released on J-STAGE: September 15, 2024
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Curiosity is the desire to acquire new information and is considered a source of inquiry and creativity. We used an ethnographic approach to examine growing curiosity and inquiry in a student with an intellectual disability while she was engaged in a creative activity. We inferred that the research subject generated curiosity-based inquiry and creativity by speaking and performing actions as well as by generating novel expressions inspired by her friends. Furthermore, she developed a sense of creative self-efficacy. The study concluded that factors that fostered curiosity were interaction methods, space creation, and novel activities.
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Case Study of Movie Making and Photography
Xitong LIAO
2024 Volume 45 Pages
287-303
Published: 2024
Released on J-STAGE: September 15, 2024
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This study aims to explore the becoming of collaborative inquiry through a/r/tography, a practice-based research methodology of reflection by the artist/researcher/teacher through art and text, and the interactions among a/r/tographers who are involved in it. Regarding the process of the becoming of inquiry, the case of two a/r/tographers who conducted their inquiry through movie making and photography with respective inquiry themes are included. By observing and analyzing the process of their inquiries, three steps were identified, namely, collaborating and expanding, elaborating and deepening, and presenting and sharing of inquiry. Regarding the a/r/tographersʼ interaction, it was concluded that as their inquiries intertwined in a multilayered manner, a/r/tographersʼ inquiries and expressions expanded and developed in a rhizomatic way, through thinking, sharing, discussing, chatting, and interacting in a multifaceted manner based on their diverse practical experiences in art making, and practice and research in art education.
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From Group Members to Conversational AIs
Shuanshuan LIU, Fang Shigen OGATA
2024 Volume 45 Pages
305-323
Published: 2024
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This study proposes that four types of “outsider” perspectives—those of 1) group members, 2) art historians, 3) artists, and 4) conversational artificial intelligence (AI)—can be used to cultivate appreciation of art through reflective learning in junior high school students. The first three types are extracted from the literatures on the development of art appreciation capabilities and art psychology. This study summarizes the methods of applying these perspectives in reflective learning in art appreciation, which have been proposed in previous research in Japan and China, and examines the practical challenges in those applications. Next, we investigate the applications of conversational AIs, such as ChatGPT, in art criticism, curation and museum tour guides, and school education research. The findings of our investigation indicated the feasibility of applying conversational AIs in promoting reflective learning in art appreciation.
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2024 Volume 45 Pages
326-327
Published: 2024
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2024 Volume 45 Pages
328-330
Published: 2024
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2024 Volume 45 Pages
331-332
Published: 2024
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2024 Volume 45 Pages
333-335
Published: 2024
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2024 Volume 45 Pages
336
Published: 2024
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2024 Volume 45 Pages
337-338
Published: 2024
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2024 Volume 45 Pages
339
Published: 2024
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2024 Volume 45 Pages
340
Published: 2024
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2024 Volume 45 Pages
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