The main purpose of this research is to inspect the efficiency of “Body/Mind Awareness teaching material models”. For further inspection of this program, it has been implemented at public schools and colleges, not only for students but also babies, children, and recurrent nursing education. The result of this inspection elicited several teaching material models. Among these, two have been selected, namely “Seek for nature” and “Make an egg stand?”, as proposals for a new type of teaching. These two models have been implemented for education and nursing students, as well as for nursing instructors. Theclass using the “Seek for nature” model has seen changes in the students' awareness of body/mind, compared to before and after the class experience. The class using the “Make an egg stand?” model, meanwhile, hasexperienced increased awareness of “potentialities”, “concernment” and the instructors'point of view.
Finally, it can be said that these types of method, also called label work methods, represent a simple and efficient way of teaching that intends to reinforce awareness, as well as a class arrangement which encourages participants to act on their own initiative.

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In this paper, the current Japanese situation regarding goal setting and method utilizing in guiding a “Clinical Social Work Support Skill Training Program” is surveyed by examining recently published textbooks and research papers, to find whether the request for the attainment of an indication to show how an initial level of proficiency with regard to the self-reflective use of social workvalues, knowledge and by social work students can be actually realized. Based on the standpoint that the body itself includes kinds of techniques and methods used to digest and generate nonverbal relations independently of the level of consciousness, concepts of “body wisdom” in the pedagogical scene are introduced and compared with training methods in the social work domain to discuss and assume aspects of uniting the specialty of clinical social work and body experience/process oriented program as a basic and inevitable core element.

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This thesis aims to clarify the characteristics of Kei Takei's (1939-)“LIGHT, part 12 (The Stone Field)”(First performance 1976) by analyzing the VTR (Recorded in 1979 in Japan) of this performance and based on 19 critical reviews (9 American and 10 Japanese).
Consequently, in “LIGHT, part 12 (The Stone Field)”, the use of stones as its subject distinguished this performance and the following 4 points are extracted as characteristics that differ from the other “LIGHT” series: 1) The performance composition was carried out with only limited movements and scenes created based on the relationship with the stones; 2) The audio effects differed due to the noise from the stones, Takei's singing and the yells by the group; 3) The visual effects were noticeable, from the abstract beauty of the stone locations; 4) The white cotton-made costume with a black line and the big black X painted on Takei's face stood out. Both American and Japanese critics rate this performance highly as a dance performance for giving the stones life and for its simplicity. The Japanese critics also found the Japanese-like elements in the performance, while the American critics saw images of primitive characteristic common in the “LIGHT” series and the human figures engaged in Sisyphean work. This is the difference between the Japanese and American critics.

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This study is the result of participant observation for the class of Carers and Toddlers on the “Movement Play” course, in Laban school over a period of five months. We considered the characteristics and structure of the teaching methods. The classes are made up of three elements, namely (1) music (2) movement and (3) expression, which are all inter-related. The children are encouraged to express themselves through rhythm and sound, and develop various motor skills and experience movement elements based on the Laban Theory. Both children and parents are encouraged to express themselves and can freely improve their physical expressions and motor skills.

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The theme of this study involved considering physical education in higher education using Contact Improvisation as one of the teaching materials, from the viewpoints of body and communication skills.
The analysis of the C.I. unit document and the questionnaire given to the students who took the class confirmed the acquirement of body skills such as [an understanding of weight and gravity], [momentum], [sense of space], communication skills through body movements such as [notice of breathing harmony], as well as mental communication skills, such as [trust with others], [notice of communication and joy], whichcan be considered the characteristic advantages of C. I.
Moreover, to urge students to engage in spontaneous improvisation, considered to be one of the important learning contents of C.L, a necessary improvement in the leading words and creative environment was confirmed. During this study, the repeated practice of dancing, creating (improvising) and watching were considered effective to reduce students' shyness, and walso led to tudents' spontaneous improvisation.

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This report summarizes the activities of a dance workshop for children titled “Dance Workshop; Yagai Choukoku to Asobou”(playing with outdoor sculptures) which has been conducted at the Ohara Museum of Art, in Kurashiki, Okayama Prefecture since 2002. The activity aims to promote understanding of the sculptures by using physical expression, while at the same time relaxing the participants both physically and mentally. The activities are subject to annual analysis and revision.
Participating children interacted with the sculptures by touching, holding, climbing on, walking around and lying under them, and thereby discovered new aspects of the sculptures in an enjoyable atmosphere. They then interpreted this into free physical expression. By interacting with art in this manner, the students were able to enjoy the works in a way that is not possible using visual stimulsi alone.The program thus shows that using physical expression in museums as a method of art appreciation holds great promise as a method for enriching children's physical and mental well-being in an education environment outside school.

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