The added value is hardly generated in the art event that the enterprise and the administrative body execute in it. However, the added value is created in the advertising agency, the event production company, and the artist management company, etc. that mediate between the enterprise, the administrative body, and the artist or the art group when executing it. It is called art intermediary business in this paper, and the mechanism and the business structure that the added value is generated are clarified through the analysis of the case with the art event in the Shizuoka international gardening exposition.

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Most of folk performing arts have been sought to be passed down from a viewpoint of cultural properties protection, but recently the matters of the succession of the performance such as the way of the succession and the change of the performing arts themselves, have been more serious. This paper demonstrates how folk performing arts are being inherited by examining Kowaka-mai of Ohe, Dengaku and nohmai of Mizuumi and Noh and kyogen of Nogo, which are designated an important intangible folk-cultural property by the Japanese government. The paper also draws the problems of a cultural properties protection policy relating to the succession of folk performing arts, and proposes assignments hereafter to be tackled.

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For seeking of social justice in the plural society, we should make ‘overlapping consensus’ by communicative actions, not only in the individual level but also in the group level. Through these actions, we can build up layering and complex networks with various consensuses, and it means the system of plural social justice. And the networks of social justice basing on the ground of its own culture and traditions that are undertaken by the citizens work as the fountains for creating new cultural values.

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The Graduate School of Cultural Policy Studies, master and doctor course at the same time, was established at Kyoto Tachibana Women's University in April, 2003 for the first time in Japan. This school is founded on the Faculty of Cultural Policy of that University and shares the same philosophy and object concerning with the teaching and studies for cultural policy. It is the biggest feature for this school that cultural policies are considered in the wide meaning as to embrace the field of regional economy. From viewpoint of economic vitality and cultural enrichment, cultural capital and cultural industries are given a special role. Cultural assets are regarded as seeds to regenerate the region and its economy creatively, or to make up the creative environment.

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Many intellectuals discussed the theory of cultural policy in the second decade of the Showa Era and World War II. It has been deemed that pre-war theory of cultural policy in Japan defines the theoretical ground to support a war footing. In this paper the theory of those days was re-examined by analysis of some literature, e. g. “a special number of cultural policy” (Education, 1938), “The administrative law of culture” (Nakamura, T., 1940). This paper suggested that the intellectuals of those days tried to develop their original theory of cultural policy in their way possible.

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