Teachers who participated in the Visual Thinking Strategies seminar experienced the appeal of art appreciation and gained increased awareness of the fact that the way they see, think, and feel when it comes to something obvious is not always all there is to it. This is an important factor in sympathizing, reviewing activities for studying, improving, and creating things with children. As this case study shows, even teachers who do not work at the same school can appreciate children’s exhibits and experience various ways to see and feel them using visual thinking strategies when they look at the exhibits together. Visual thinking is great not only for creativity but also for finding new meanings in things, new ways of seeing and feeling things, and for developing a sense of self-esteem. We also do school visits and collaborate with demonstrational lectures upon request. In order to provide beneficial training opportunities, we will continue to work even harder to promote projects in collaboration with schools.

In this study, we examined and compared the difference with the children’s, teacher’s and parent’s viewpoints. We investigated the problems of painting education recently and attempted to make it transparent. At first, we surveyed children’s drawings and products from teacher’s view. Then we classified them into four types, excess teaching, presentation from only the theme, presentation from only the technique and guarantee of the children’s flexibility while confirming its validity. We chose conspicuous work according to each type and investigated them. As a consequence, we found that the highly complete product that was mainly led by teachers was supported by teachers and parents. We got results that were influenced by teachers who were not confident in teaching. We also found different opinions of products between teachers and children. Children do not accept the completeness of the product. On the contrary, they show sympathy towards its image and flexibility. We achieved not only the goal of high completeness but also the experience techniques and the theme that was guaranteed for children’s flexibility. We gained precious viewpoints to improve our next steps.

This study includes the record, analysis and consideration of collaborative classes at Duhová Škola conducted by a teacher of the Faculty of Education at Charles University in Prague, Czech Republic. The study highlights ‘Two Melodies’, an artistic activity that sets music as a theme, and reviews it from an art education and cross-cultural exchange perspective. Classes based on the same theme were conducted simultaneously in Czech Republic and Japan. Czech students appreciated the works of Japanese children in Prague. The study included two expression activities ‘drawing’ to integrate with music and ‘colour paper composition’ to represent the impression of the whole music. In drawing, the place and equipment were arranged to facilitate physical activity suitable for opening up the children’s body and mind. In three examples of coloured paper composition, Czech children faced cultural conflicts, but they could develop their own expressions despite the confusion. The study results showed the effectiveness of setting up an artistic activity through music as a theme makes children act intuitively, transcending the differences of school environment as well as teaching methods in both the countries.

This study aims to provide a contemporary interpretation of the concept of “farmer’s arts,” which was proposed by Japanese poet Kenji Miyazawa in 1926. This theory, anchored by the provocative phrase, “Professional artists should perish“ attempts to establish daily life as “four-dimensional” art. Several researchers have interpreted this text in different ways because of its abstractness. In contrast with farmer’s literature or peasant art, the concept of farmer’s arts is not limited to the farmer. In this article, the term refers to the idea of integrating art into life. By reviewing the discourse that reevaluates Miyazawa during the postwar period, this paper analyzed the concept’s historical transition. In conclusion, the “farmer” in the 1920s can be compared with the “citizen” of modern times; thus “farmer’s arts” can be termed as “local arts” today.

City and Country School, which has been practicing Pratt’s view of education, which emphasizes “learning centered on art experience” in NYC, is forced to change direction from the conventional experimental character. But this background involved educational trends around NYC and the needs of parents. In this paper, I focused on changes in C&C from the 1990’s from the two points of school’s internal and external efforts. In particular, a new role as an experiment school of C&C is born in the re-evaluation trend of Caroline Pratt’s educational philosophy: 1. The role of changes in the research viewpoint: 2. The elucidation of the significance of art education. The historical and reflexive consideration of Pratt’s view of education rethinks the original educational power of art.

A summer workshop “ArtCamp” was held by the Ladislav Sutnar Faculty of Design and Art at the University of West Bohemia in Plzen, Czech Republic, in July 2018. The author was invited to the workshop and conducted a course titled “Bunjin-ga as Conceptual Art Practice” from July 23 to July 27. In this course, a variety of workshops was held, including Bunjin-ga, a school of Japanese art in the 18th and 19th centuries, and conceptual art that appeared in the 20th century. The course aimed to connect the “criticism” and “amateurism” that are features of Bunjin-ga to the students by exploring their relevance to the idea of conceptual art and the extraction of concepts. In this paper, the significance of this course, the preparation process, and the practice are described, and the results of each workshop are analysed.

It is an important subject to improve the teaching content at the primary school teacher course. The purpose of this study is to analyze the practice at “primary arts and craft” and to consider the effective contents for students to change the image of “arts and crafts”. Through practice and analysis of responses to the questionnaire conducted by students, their image of “arts and crafts” were “creating (drawing), appreciating, sharing, and enhancing”, converted into something that leads to essential learning and improvements for the positive image. As an element to make “enjoy”, there is “appreciation activities and modeling activities,” which are carried out through the various relationships with friends. Going on the analysis and consideration of practical cases, there is a problem to consider about specific teaching scenes such as teacher support and learning environment.

According to the MEXT, the Graduate School of Education (Master’s Program) to train teachers with high expertise and advanced qualification abilities in a specific field is now moving to Graduate School of Education (Professional Degree Program), but the reorganization of the current Graduate School of Education that the subject of teaching pedagogy as the backing of its existence is progressing so that in this context, the necessity to reexamine the significance of “Art and Handicraft” and “Art” has arisen, and research meetings and study meetings are held in various places. On the other hand, it is important to provide stress control as a necessary skill for self-reliance in a society in which the future is difficult to predict, and this ability will connect to the goal “living ability (‘zest for life’)” in the new guidelines by the Ministry of Education. From this point of view, by newly reconsidering the significance of “Art and Handicraft” and “Art”, the purpose of this research will be shown the content and method of education to acquire “beauty as a hobby” as an ability to control stress.

Imitation is a normal activity for children, and it is a process of learning. However, some educators think that children who imitate are children who are poor at drawing pictures. I think that breaking down such an image of imitating children will lead to their further creative activities. This study analyzed children’s imitation behavior that occurred in everyday class in order to clarify the meaning of imitation as to how it happened, how it changed production, and how it led to learning. The study further attempted to consider how teachers should act on it. The results confirmed many cases in which children overcame difficulties by imitation when they could not progress any further in the production. 39 cases in which what children imitated was related to the evaluation viewpoints were extracted from the total 97 cases, and it was clarified that imitation that leads to “ideas are often that of words or images, and that imitation that leads to “skills” occurs when teachers give “instructions” or “examples.” It was clarified that out of teachers’ relationships with children, “presentation” and “agreement” prompt students to imitate one another.”

How effective is “making recycled crafts” to improve children’s environmental awareness? And, Just by working with scrap (unnecessary items / unnecessary items) can you say that it is possible to contribute to recycling? In this paper, we will reorganize the significance and issues of “making recycled crafts” by organizing the type and way of thinking of “making recycled crafts”, as well as historical changes and grasping the current situation based on the questionnaire. And, based on those, we considered the possibility of “making recycled crafts” to raise environmental consciousness from the sensibility aspect through program development and trial practice. we were able to confirm the importance of the program that emphasized the relationships with things, affection for things, divinity in things, beauty of aging and “bricolage” viewpoint.

In current university education, it is important for academic development for students to verbalize what they have learned from experience. In addition, for students to learn and develop ambition, self-evaluation and educational methods in active learning are effective. In this study, which was held in the first half of fiscal year 2018, modeling education in a university course “Arts and Crafts I” was examined using text mining of a “summary of the project” written by students after conversion into text data. Statistical analysis of the text showed that the results of learning conformed to the purpose of the course in elementary school arts and crafts and the goal on the syllabus. In addition, problems in generalizing the language of learning become clear, and the results showed that e-portfolio created by students can be used effectively for review.

In the following research paper, we clarify the process of changing children’s cooperative behavior through modeling activity which children rebuild the relationship with the site of life, and also it shows the process of empathic formation in children’s viewpoints, feelings, and thoughts towards the site of life in this process. The three children who share activities at the school location “Our Waterside” routinely involved in the class throughout the year, as a result of activities collaborating to form a relaxing water pond for them to enjoy. In the shade of the waterside, interaction analysis showed that this collaboration resulted in increased collaboration and empathy by updating “Our Waterside” and expanding to activities and with the mediation of modeling activities that create relationships with the site of life orthodontic surrounding participation, the body of the phenomenology, and the fusional sociality. In the process of changing cooperative behavior in the activities creating a place, it revealed the formation of an identity that cooperated with activity and the formation of social empathy of individuals. Empathy showed that the children form empathic interrelationships of the entire class through the penetration of children into their daily lives.

This research is continued from the previous survey, and we will experiment about Carlo Crivelli’s relief technique, which was active in making use of the technique of craft decoration of tempera painting during the Italian-Renaissance period. The masterpiece of Carlo Crivelli “Maria Magdalena” (Rijks Museum in Amsterdam) relief technique was an unparalleled technique. Especially the expression of the Maria Magdalena’s pot containing the perfumery, which is an attribute, is a masterpiece. Carlo Crivelli is a mysterious painter who stuck to traditional paintings of temperate paintings that have become outdated at the heyday of the Renaissance art and left many altarpiece. Last time I made samples and made some experiments on what materials were used for relief. As a result, it proved that the Pastiglia was used, not gesso sottile, which is usually used. This time we will experiment about how to make the Pastiglia relief. In order to investigate in what way the Pastiglia was excited, we made samples using a number of tools and compare them. It approaches the mystery of Carlo Crivelli’s tempera painting’s technique clarification.

France has recently accelerated attempts to reconstruct learning system with the educational potentiality of art. Autonomy of artists, or that of art itself, is seen as the most important in children’s art activities there. This paper particularly discusses children’s inner transformation that occurs during their art activities, and considers the meaning of aesthetic experience for children and artists who bring the children the aesthetic experience. Significance of art activities locates in the possibilities of making one ask oneself, uniting the self with others as a whole, establishing the internal harmony of the self, and finally having an aesthetic experience. Personality of the artists encourages children to make voluntary inquiry that bring them about receptivity and special listening ability. The artists are internal, personal conversation partners with the children. It turns out that the participant artist is, so to speak, a teacher as “a pure donor”.

This is the second article on reading-based appreciation of Rembrandt’s “The Night Watch (1642).” In the first article, the author proposed a seven-stage learning program and discussed the first and third stages: observation and interpretation. Here he considers the second, fourth and seventh stages: formal analysis, the supplementation of knowledge including the provision of information and replenishment subjects. He selects the painterly quality of oil paints and the structural features of composition as main themes of the second stage and mentions that in even formal state, a path leading to grasping subject exists. The issues of the fourth stage are art historical backgrounds, iconographical examinations and episodes. He learned a lot from a collaboration by Satoko Fujii and Naomi Kajiki, which is a cross-disciplinary class practice between history and art. Then he explains how to interpret “The Night Watch” from the iconographical perspective and researches the function of episode. In his opinion, episode plays an ancillary roll on understanding artwork, but sometimes relates to its essential sides. At last he shows his concepts on five topics in the seventh stage, which are an East-West comparison, listening to a painting, searching Rembrandt’s self-portrait, role-playing and shooting a dealigned commemorative class photography.

The purpose of this paper is to examine the application of a painting and dyeing technique called “Yasya-Zome”—one technique of natural dyeing on silk—which is a technique used in the reproduction of Japanese paintings. In this paper, in the first place, available information on natural dyes is carefully examined. Following this initial examination, this paper explores the possibility of the practical application of this painting and dyeing technique. As a result of this investigation, in the case of dyeing and drawing on silk, it can be concluded that making the groundwork and drawing by permeating color materials with nature dyeing. Furthermore, this technique has high transparency, and through this technique, it is possible to utilize surface texture as well as to combine materials with the pigment. In addition, with regard to blurring as a type of penetration technique, some conditions, such as completing the drawing at once from pre-mordanting to drying, are necessary. Through the examination conducted in this study, it was possible to clarify the differences in the production concepts of “preventing permeation” and “drawing” between the fields of dyeing and painting.

The purpose of this research is to clarify the influence of the attitude of supporters on modeling activities of children. There are supporters (adults such as nursery teachers and educators) who make children enthrall at the scene of Modeling Activities. But It is a pity that there are supporters who call such supporters “desirable educators” who are regarded as differently and who give up without considering the reasons. If “The Influence of the Attitude of Supporters on Modeling Activities of Children” are clarified, regardless of whether the supporter was a desirable educators or not I think that everyone can get an opportunity to practice desirable support. Therefore, in this article, I take up a wide range of four modeling activities from young children to college students. And I analyzed and 4 cases conversation record of movie recordings and sentence of impressions taken after modeling activities. As a result, we were able to confirm some of the influence that the supporter’s attitude has on the active children. Further argument based on the purposes of the modeling activities is a future task.

The purpose of this research had aimed to clear that the followed situation and practical contents for the university art education field about mixed technique using tempera colors with oil paints. The author conducted a questionnaire survey on the existence of a mixed technique class and its contents for teaching staff in charge of paintings of art colleges, art universities, junior colleges, and teacher colleges. As a result of the survey, it was found that a mixed technique class have been responded about 60% of the universities. In addition, it came out that the prescription and blending ratio of materials in teaching, and how to use tempera paint in technical aspects. While mixed technique was popularized in the demand for western painting techniques since 1970s is recognized as one means of learning painting, mix technique classes are not popularized by various reason.

The purpose of this paper is to analyze “Design” in Secondary School Drawing Teacher’s Certification Examinations: I will study characteristics of examination questions in relation to members of Certification Committee, the syllabi, the description of the note written about the actual examination and study for the examination, and consider what competence needed for teachers of art subjects. I focused attention on six members who took charge of setting questions, all of whom served long consecutive terms of office and were concerned personnel of the Tokyo Fine Arts School and Tokyo Higher Nomal School. Result of the analysis, this paper has clarified three characteristics of exam questions for Design as follows: First, the correlation between the shifts of the Committee members and the changes of questions was found, which confirmed their influence over the exam questions. Second, as regard to the connection between the syllabi and the exam questions, the components of exam clearly followed the syllabi. Third, the characteristic of exam has revealed that applicants were extremely required basic knowledge and skills of design in those days and the competence of exerting one’s originality and ingenuity.

The present study investigates the possibility of implementing one of the human-centered design (HCD) methods, the observational method, into the subject of product design. First, an overview of the history of design education was made to clarify why subject matters for product design are not very well established in the field of design in junior high school art departments; the necessity of developing teaching materials for the subject matter in product design was confirmed. Then, based on the definition of design provided by Chiaki Murata, “problem-finding capability”—the ability to find hidden problems in our daily lives—was stipulated as the desired talent and capability children should acquire through design education. Acquiring learning experience through the observation method was hypothesized as effective for nurturing problem-finding capabilities, and its practice as targeted toward junior high school and university students and their teachers was analyzed. The validity of the hypothesis of the present study was then considered. As a result, among problem-finding capabilities, focusing on the improvement of the “value-discovery capability” was determined to be critical for design education in the future.

International Baccalaureate’s ATL (Approaches To Learning) skills are versatile skills set to “learn how to learn”, and it shows five categories (Communication, Social, Management, Research, Thinking) and ten clusters (Communication. Collaboration, Organization, Affective, Reflection, Information literacy, etc.) in the MYP (Middle Years Programme). Competency-based learning is the mainstream in many countries around the world, and various skills are also shown. In this paper I compare the skills shown in CCR (center for curriculum redesign) and ATC21S (Assessment and Teaching of 21st century skills) with ATL skills. As a result, it was confirmed that although the way of classification and the position are different from the purpose of each system, there is no big difference in each skill. Also, I studied how the students feel about ATL skills through art classes at a junior high school (not IB school). As a result, I learned that many students felt growing about the skills handled in learning, such as communication skills and reflection skills. It was conceived that demonstrating concrete skills such as ATL skills is sufficiently informative for the next course of study that clarified the development of competencies.

The objective of this paper is to clarify practically that children’s art activities in childcare will encourage children’s utterance and non-cognitive abilities. As a method, we analyzed the correlation between the quality and creativity of children’s art activities and the growth of utterance and non-cognitive abilities (reassurance, independence, cooperativeness, interest) promoted thereby, and visualized the results by chart. As a result, it showed that a high quality art activity is effective for the growth of child’s utterance and non-cognitive ability. High quality art activities encourage creative acts such as Mitate (look on something as another one), ingenuity, trial and error, as well as actions leading to the activation of utterance and non-cognitive abilities. It is the power of the image to bridge the growth of creativity and non-cognitive abilities in the children’s art activities, and it is necessary for teachers to support children to form and share images driving the art activities.

This study examines how the four dialog structures in the Japanese language affect how artists interpret their personal experience of the world around them based on what Japanese language teacher Michiya Murakami has verified from the relationship between language and physical experience. Then, I clarified how the dialog structure interpreted the theme. The four dialog structures are as follows: i) a combination of the writer’s wording, handwriting, and paintings that reflect the viewer’s own thoughts; ii) a combination of the writer and viewer’s perspectives; iii) writing that communicates through the physical senses to the viewer; iv) projects that create personal empathy with the viewer. This study sets up activities incorporating elements of the four dialog structures with the cooperation of sculptor Eisaku Ando. Consequently, it confirms that it is important to teach students the process of an artists’ personal development through their behavior and interactions with the world in their daily lives, interactions with other people, and the environment, as interpreted in their works.

In this paper, considering 〈alterity〉 as different characteristic of 〈self〉 that cannot control by myself, then examine 〈alterity〉 by artworks of German contemporary artist Joseph Beuys. It is conceivable that Beuys while facing his 〈alterity〉, 〈alterity〉 of death from his war experience, and then he develops his 〈self〉 as a post-war artist through creating artworks. This creation of 〈self〉 would include a range of Beuys’s concept of “extended definition of art”. On the other hand, it is hard to find out 〈alterity〉 in recent tranquil Japanese life, doubting daily life that we believe naturally, is a necessary way to baring 〈alterity〉 in the face. Therefore, by doubting community could make a place where art materialized, then facing to 〈alterity〉 at such place for creating 〈self〉, and explore how it could appeal as a work of art. In addition, such investigation of work of art will indicate the possibility of art in today to the new status.

The present study investigates the interaction between a pair of children with different-ages in art activity using gaze analysis. The main objective is to grasp the situation when child observes their partners and utilizes obtained information. Furthermore, the difference of age between the two children will be considered. To obtain analytical data, subjects wore Eye-Tracker that is used to monitor their gaze direction. The data were treated by Behavior-Coding-System that makes the calculation of the number of times and the length of time when the children pay attention to their partners. The following result is by infants (around 5 years of age, n = 7) and elementary school children (around 8 years of age, n = 7). On same a table, a pair of one infant and one elementary school child independently worked on an activity using clay. On the whole, infants looked at elementary school children. But, on the other hand, elementary school children’s behavior became polarized. In initial phase, most infants emulated elementary school children’s action, however the contrary was never recorded. From the above, it can be presumed that the observation patterns were different between infants and elementary school children.

Art works created by children of schools for the blind have been highly evaluated. However, verifications of the curriculum of art education, teaching materials and contrivances for guidance and support are still insufficient. Particularly, there are no effective textbooks, instruction books, reference books and so on for blind children. In this research, we traced the histories of practices at the schools for the blind in Kobe, Okinawa, Chiba and Gunma, and activities of the Gallery TOM from the 1980’s to the 1990’s. Based on concrete examples, we examined what types of expression activities have been done. In addition to undertaking the task to realize the idea of inclusive education, the blind school education is facing major challenges, including a decrease in the number of enrollments and preservation and inheritance of the expertise of teachers. It is necessary to discuss the way of the future of art education at blind schools and to examine whether we should consider the scheme of target achievement, regardless of the kinds of arts such as sculpture and painting, in expression.

The first stage of the exercise using this material—viewing—did elicit some resistance at an emotional level. However by the second stage, when students became more familiar with the painting and set out to emulate it, emotion actually ended up usurping the main role in the art activity from the likes of intellect and perception. The kind of images they had in mind as they set about the task were clarified, i.e., whether it was an affective experience due to their thematic awareness consisting of aesthetic properties, or a non-affective experience due to it consisting of non-aesthetic perceptual properties, conceptual properties etc. It was found that for less able students such as those with a score of 0 or 1 instances of receptivity to aesthetic properties, when initial grasp of the work’s theme was divorced from affective experience, by learning from Kandinsky’s approach to design the affective expressiveness of lines, curves, circles, semi-circles, arcs and so on, and the regionalism of the picture plane, fortunately affective experience enabled a picture to be completed.

The author devised a Design Patent Contest (National Center for Industrial Property Information and Training), to design lectures in which the contest participants could experience the procedures up until the acquisition of design rights and therefore reflect on intellectual property education in art and design education, which is different from university arts and design. In this paper, we discuss four processes in the design lecture, including (1) ideas and thinking about products, (2) establishment of concepts, (3) past searches of design rights, and (4) technical design drawing. We confirmed that these comprise the development of ideas and establishment of design concepts in the early stage of the process. Students also understood the advantages of their own designs, because they were judging whether their ideas were similar via the Internet. However, drawing for design application is required in design drawing, and it is a necessary and prescribed expression method. It therefore took students a long time to express the designs they imagined, leading the author to realize that the students were not good at noticing and found design drawing very difficult. The author therefore concluded that it was necessary to devise such a lecture in the future.

The English Baccalaureate was introduced in 2010 as a performance measure for schools in England. It measures the achievement of pupils by their performance in five subjects in the General Certificate of Secondary Education: English, Mathematics, History or Geography, Sciences, and Language. There is a concern that this reform has led to a decrease in pupils’ access to art in schools. This paper shows the meaning of this educational reform (which emphasizes the five subjects) from the viewpoint of art education. The methodology is an investigation of the process and the structure of this reform, a comparison of the results from three surveys done by British researchers on this matter in the United Kingdom, and a reflection from the author’s field studies and questionnaire surveys in schools in the West Midland region of the United Kingdom from 1994 to 2017. The value of art education in the United Kingdom is now being challenged by the free competition principles among school subjects. This study raises an essential issue from comparative education about how art education tries to appeal to the society regarding its role and existence.

The purpose of this study was to verify the effects of the improved report sheets that were devised to improve the ability to explain about elements of creation in sculpture education using nude models in the art teacher training course. The primary aims of the improved report sheets were for the students “To remember what they have learned at every sculpture practice using the improved report sheets” and “To organize one’s thoughts and image step by step using the improved report sheets” and “To read the other students’ report sheets”. In this paper, the effects of the improved report sheets in the sculpture practices were estimated through the questionnaire survey of the students of Aichi University of Education who attended the sculpture practices using the report sheets. I conducted the analysis by using the mean and standard deviation and the t-test method. The results of the analysis showed that the improved report sheets were effective to improve the student’s knowledge and understanding about elements of creation, as well as the student’s ability to explain about elements of creation, and the student’s ability to observe objects.

In this research, we validated the effectiveness of rubric of art appreciation through elementary school drawing and craft lessons. Furthermore, we aimed to use it for improving art appreciation lesson based on that consideration. In the initial verification, we asked research collaborators to develop and practice class lessons based on art appreciation rubric lesson. Also, after seeing the lessons, we analyzed and considered them from records and worksheets. The lesson was the work appreciation of “Woman Reading a Letter” drawn by Vermeer and was taken by the students in the fifth grade in the elementary school. As a result of the analysis of these classes, we were able to clarify the purpose and question of the teacher and the reaction of the students in the lesson by Rubric. Furthermore, it became possible for us to compare lesson designs and contents after lesson. As a result, we were able to learn how to improve classroom appreciation in terms of “how to decide the aim and choose the appreciation works” and “how to assemble questions” and “how to design the worksheets”. As a result, we confirmed that Rubric is effective in art lessons.

This article reports on what the Hokkai Times did in the field of the drawing education based on “Hokkai Times” published in 1922. Shigeo Sawaeda, a staff member of the Hokkai Times wrote about “Jiyuga” Education in February 1922 in order to tell the teachers of the elementary school about “Jiyuga”, and make a success of the second exhibition of “Jiyuga”. In 1922, the Hokkai Times organized the second exhibition of “Jiyuga”, and sponsored the lecture by Shu Okada who taught the drawing education at Tokyo Women’s Higher Normal School at that time. In November the distributor of “Hokkai Times” organized the exhibition of “Jiyuga” at Yoichi. It was the effect of what the Hokkai Times did in the field of the drawing education. Sawaeda was a judge and lectured about “Jiyuga” at the exhibition.

In elementary school art education, it is necessary for teachers to provide instruction with an understanding of the child’s creative and expressive intentions using various art products. In the present study, two elementary school teachers attended a training program in twelve sessions across four months. In the teacher training program, the teachers were involved in creating activities that included drawing as a less skill-dependent means of creation, through which they could identify their own expressions and undergo exerting an agency in expression. The teacher’s recognition of agency was expected to provide the basis for realizing and acknowledging diversity and value in the children’s work. Longitudinal research revealed the teachers’ reflections. Teacher A, who was familiar with creation, had little difficulty at the beginning of the program, however, experienced greater difficulty as the training program progressed. By contrast, Teacher B, who reported feeling resistance at the beginning of the program, encountered unexpected findings: he reported experiencing difficulty in exploring the problems in his own expressions. These results suggest that the teacher training program in this study provided an opportunity to modulate teachers’ recognition of their own expression, shifting from the initial state to the next state of expression.

Learning social and emotional skills in childhood has received attention due to it having a positive influence on a barometer of social progress. This study seeks to focus on pretend play which is thought to promote infants’ subjective and creative abilities thereby improving creative output. And we wish to consider how formative expression activities, in the context of pretend play, influence the cultivation of children’s social and emotional skills. Data for this study was collated from previous research and questionnaires targeted at kindergarten teachers and parents in the Hakodate region. Through the data, the present form of the region’s education systems and the degree to which formative expression activities and pretend play were incorporated into classes were deduced. In addition, this study analyzed three-year-old infants’ behavior basing its results on two factors, “social skill of social and emotional learning” and “social and emotional management skill”. In this way, it sought to verify the relevance between formative expression activities and social and emotional skills. After careful deliberation, our results indicate that there is a high probability that formative expression activities in pretend play have a significant impact on the cultivation of basic social skills.

This article attempts to examine the practice of art education at a school located in a rural area; it is based on the analysis of 4,100 pieces of students’ artwork created during the school years 1966–1985, preserved at Bakuro Elementary School, Takaoka-city. The study first outlines the circumstances and events that occurred in art education in the middle and late Showa era. The school diaries and relevant documents were also reviewed in order to investigate the teaching staff, art books used in art classes, implementation of art practices, and related art activities at the school. The study then analyzes the themes of the students’ artwork, ways of expression, as well as thought and practice in art education. As a result, the study confirms that the students’ artwork contained works of scenery, figures, still life, and the trend of making wood prints. These pictorial works included future cities and stories, which resulted in new ideas, thereby confirming diversification of art themes. The study also found that students’ memorial works played a significant role by functioning as study/teaching material for practice in class and in-service learning at that time.

This paper, with an understanding of the Reggionarra Program in Reggio Emilia as a citizen’s expression project, organizes and examines the topics of participation and storytelling approaches, which provide the backing that promotes project growth, from a perspective that is linked with early childhood education. The view of this paper is that the concepts of participation and storytelling approaches that had been aimed at infant and early childhood education turned into a project aimed at life-long education for all people due to changes in awareness among parents and guardians as well as educational administration reforms in Reggio Emilia. This paper also examines three programs implemented in 2018 in terms of the kinds of storytelling venues proposed for the purpose of promoting participation among the diverse citizens of the city. These examinations showed that proposals had been made regarding venues for creating stories that enable people with and without visual impairment to acquire figurative language, storytelling venues that create a place where even immigrant high school students feel welcome, venues for creating stories that enable community residents to share information about issues, etc. all while making use of a variety of types of language (figurative language, etc.).

Cuban artist Tania Bruguera has called on her practice “Arte Útil (Useful Art)” for about 10 years and is working on a project in cooperation with art museums in various countries. Useful Art has several features. For example, Useful Art is to operate in a real society, respond to urgent social problems, and to bring concrete beneficial outcome to each participants. And although the artist starts the project, the operation is handed over to the participants, aiming for sustainability. Such a form of art brings inspiration to Japanese education which carries out “educational curriculum open to society” to leap out of school, learn in the real society and make use of its power. Another educational challenge in Japan is Citizenship Education. Among the several tasks that Citizenship Education addresses, Community Cohesion is an important issue. Many artists are working on community cohesion through their art practice. It is thought that the attempt of social practice is aiming for “subjectification” to cultivate a culture of democratic participation in public issues rather than “socialization” that encourages young people to adapt to existing society.

This study would examine its validity of the formative design workshop “Art Tool Caravan” (hereafter defined as “ATC”) as a means of child-rearing, by analyzing a structural principle of “multidimensional relations” which consists children and adults with diverse backgrounds, various status and family circumstances. And also by defining and ensuring a meaning of participating in the formative design workshop, we would validate appropriateness of the formative design workshop. This study would examine its validity through the use of “the study of the type of hypothesis formation” by taking these three acts “plans, practices, analyses”. In this report, in the practice 1, we would clarify the relations of each individual person in “multidimensional relations” which we set as a hypothesis. Conducting survey by questionnaire form to the workshop participants, we picked up their comments and impressions which were related with the relationships of each individual person in “multidimensional relations”, and interpret and analyzed them. As a result, we would conclude our consideration that “multidimensional relations” we set as a hypothesis have been occurred by the mutual relations of each individual person.

The principle of “additive color mixing,” according to which a new color is created by mixing different light colors, is difficult to understand when compared with “subtractive color mixing,” which comprises the overlapping of colorants. Therefore, in this study, using 3D CAD software, we modeled a 3D color cube in which the three primary light colors R, G, and B were replaced with the axes x, y, and z, respectively. A spherical model colored with RGB values was used to attempt to clarify the principle and results of additive color mixing by observing the deviation of the distribution on the color cube for each color tone and hue. According to the examinees, this process facilitates easier understanding of the principle of additive color mixing and the components of the three included primary colors for each hue compared with textbook learning. As a secondary effect, the process seems useful for evaluating color cognition among examinees.

The main objective of the study’s expression activities was to study the impact of the emotional effect of color (hereinafter referred to as “color affective effect learning”) and the subsequent influence of the expression activities on students. To investigate this influence, we selected students who had experienced color affective effect learning and those who did not and directed both groups to complete a drawing activity using colors (paints) and drafting without colors (standard pencil). In addition, we investigated the number of paints used, the presence of mixed colors, and the reproducibility of objects to be drawn; we also examined the tendency to use formative devices. The results showed that the learning of the color affective effect is not reflected in descriptive expressions of the subject, but rather as a tendency to express imagined content; moreover, the tendency lasts for a certain period. However, there was no correlation with the expansion of color through mixing. On the other hand, with students who had not studied the color affective effect and had only experienced the dressing activity, there was no confirmation of a tendency to expand the image from the subject, although mixing colors did tend to increase the color depth.

In the Maldives, rapid economic growth has changed its artistic culture, which until then was limited to the traditional handicrafts and the objects made from coconut palms. This change can be defined as an arrival of an art culture as fine art and an addition of a new role as an art culture of tourism industry to the tradition. This wave of new artistic culture as described above does not simply mean a reform of the traditions; rather, it involves numerous complex factors such as the historical circumstances, the social condition, and the state religion Islam. This study investigates and reassign the new art culture in the Maldives within the contemporary context.

This study is a learning environment design study and curriculum management study for the fostering generic skills educating in the art education. The object is fourth grader. I considered it from a one-year class in the art education. The method of study is analysis from a reflection description. The data was compiled in a chart. I considered an effect of the zokei-asobi from that inspected a one-year change. And I analyzed it from the reflection description of all the members of the classes. I clarified it about fostering generic skills to grow up by zokei-asobi. I clarified it about upbringing of meta recognition. And I clarified validity as the curriculum management.

The purpose of this study is to examine the educational effects of abstract painting and to promote the utilization of such classes. The practice of the abstract painting was often shunned at junior high schools, from an esoteric image until now. Then, it was expected to become a teaching guideline at the junior high school site. In this paper, we classify abstract paintings into three pattern groups by the method of identifying abstract forms, and examine whether we have deepened the understanding of abstract painting by supporting learning through the method of identification. Students can also visualize the subject by tying abstract forms, colors, and composition by considering the state of empathy, we clarify how the “as if (likened)” and “symbolism” are connected to them. The validity of the substitution was also verified. In consideration, it is clear that through classification of the abstract painting by the method of identifying of the abstract form the student impression, understanding of “as if (likened)” and “symbolism”, and the support by the identification method contribute deeply to the student’s understanding of abstract painting.

It is an urgent issue at school to be fixed “Zoukei-Asobi” which is one of the big parts of expression of Art and Handicraft Content A. Expression (1). We think it is influenced by teacher’s understanding of “Zokei-Asobi”. That is difference of understanding on “Zokei-Asobi” between teachers and educational guidelines. In this study, we conducted questionnaire survey with free description to teachers, and we compared the contents of the answer with the descriptive part concerning “Zoukei-Asobi” in “curriculum guideline for Art and Handicraft 2008” Answers were gained from 173 teachers in 5 prefectures and 130 students in one university. For analysis, we conducted Text-Mining with using KH Coder. In the result, there were difference on using the words which like “Asobi”, “Asobu” and “Jiyuu”, and on presence of description about Qualities and Abilities.

In the humid area like the Hokuriku region, the canvas, which is made of cloth, expands and shrinks excessively due to the absorption and release of humidity, causing a crack which leads to peeling on the surface of the work from a fragile part of the layer structure, and the collapse of the work begins. In order to prevent the collapse of the work, it is necessary to create a work while considering the storage environment as well as the artist. A painting is a multilayered structure which starts with a supporting body, followed by→glue coating→prime coating→under drawing (lower sketching)→under painting (drawing in lower layer)→over painting (drawing in upper layer)→glaze→and finished with varnish. In this paper, the phenomenon which causes such collapse was examined as a problem of the supporting body and prime coating, and a panel that combines honeycomb cardboard with lightweight and durable SHINABENIA (plywood) was devised as a solution to the problem. In addition, even in a canvas where weakness was revealed, it became clear that it could be improved by inserting honeycomb cardboard in the back space of the wooden frame of the canvas.