「文化×工学研究会」は東京大学EMP 修了生有志に東京大学生産技術研究所が協力する形で，東京大学全学の教職員およびEMP 修了生にオープンな研究会として2019 年7 月にはじまった．2023 年3 月末時点で30 回の開催を数えている．多様な専門を持つ研究者に加えて，実務家が参加することで「文理実」の連携を推進する場ともなっている．本稿では2022 年度実施分について，各回の概要を紹介する．あわせて，これまでの成果や課題，今後の展望についても紹介する．

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Japanese Confectionary “Suetomi” is the high level brand in the Kyoto's long-standing companies. This always makes the Japanese sweets a high level in Kyoto, and gets the high appraisal from the parties concerned the master of the tea ceremony , such as “Urasenke.” However, it is possible for their products to be not suitable for the tendency in the age, even if their peculiar value is different from the other companies. Also, there is a possibility that they exposed to the crisis of the business continuance. On the contrary, they offer the products that never betray the customer expectation, and a lot of customers visit their shop from the whole country. In the present study, we present the analysis of Suetomi' management strategy and its strength and differentiation based on the interview of the president Mr. Yamaguchi. After that, we analyze their innovation from the viewpoint of product innovation and Kansei value. Finally, we discuss the design innovation of Kyogashi design based on our studies. In conclusion, Suetomi has a different strong point from the other company as a long-standing company of Kyoto confections and we have understood performing the management strategy which establishes a sustainable competitive advantage using it. Thus, they have performed the design innovation of Kyoto-confections products in the management strategy which is compatible in tradition and innovation, and have created the value of a customer's sensitivity.

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This paper investigates how Japanese dancers have represented ‘black’ or ‘black people’ (Kokujin) in their performances and analyzes their meanings, their ambivalent feelings towards Kokujin, and the influence of American diplomacy in the Post-War period.
　　In Hijikata Tatsumi’s dance piece Kinjiki (Forbidden Colors) in 1959, thought as the first Butoh performance, he painted his body black to represent the black male character from Jean Genet’s novel. However, it was not only Hijikata who performed ‘black’ in this period. After WWⅡ, Japanese dancers picked up the subject that concern to black people such as the social movements of Afro-American, or used music and dance techniques related to black culture, and performed some representations of blackness by various ways especially in the period of 1950s-70s. Here, we can point out the influence of dancers who came to Japan such as Katherine Dunham or Alwin Ailey, and the jazz music that spread during this era, and the US’s policy towards Japan lay behind them.
　　This study will show that in these representations of black people, there is a sense of solidarity of Japanese dancers with Afro-Americans, problems of discrimination that existed in different phases in Japan, and also Japanese people’s own prejudice towards black people.

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