This study analyzes dance performances of three cheering squads at Minamikaze High School (pseudonym) in Kanagawa Prefecture in 2018 to explore how those performances construct specific meanings regarding gender and sexuality. The analyses show that all three squads differentiate boys’ bodies from girls’ bodies through costumes and movements, albeit to different degrees. While girls’ bodies are expressed as cute and gorgeous, boys’ bodies are expressed as cool, swinging, powerful and agile, and have abilities to lead girls’ bodies. On the one hand, all three squads include movements by a (mostly boy-girl) pair and express intimacy between boys and girls through specific movements. On the other hand, while one squad expresses friendship between boys and girls, the other two squads construct heteronormativity that defines heterosexuality as the only acceptable form of sexuality in society. These meanings are assumed to affect sexual minority students in two ways. First, we assume that they refrain from participating in dance performances because of gender specific costumes such as pants for boys and skirts for girls. Second, we assume that they also refrain from participating in the two heteronormative dance performances, which do not fit expressions of their sexuality. The way to let sexual minority students participate in dance performances without any obstacles is to ensure opportunities for all students to study the diversity of gender identities and sexual orientations. Through such studying, all students can affirm their own gender identities and sexual orientations and respect others’. Given that the dance performances include few expressions that fit neither gendered bodies and costumes nor heteronormativity, an additional way is to provide students with assignments that let them create dance performances in which allow all the students participate regardless of their gender identities and sexual orientations, while enjoying.

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　This study focuses on the determinants of the subjective consciousness of victims of the novel coronavirus disease (COVID-19) and the relationship between the subjective consciousness of victims and perceptions of the appropriateness of elections. Based on an analysis of the national survey, the main findings of this study are as follows: 1) Half of the respondents do not have the subjective consciousness of victims, and demographic variables do not define the subjective consciousness of victims. In other words, COVID-19 impacts the entire population. 2) The threat of COVID-19 in neighboring prefectures define the subjective consciousness of victims as COVID-19 is perceived as a threat that is close to home. 3) The governor’s evaluation suppresses the subjective consciousness of victims. Efforts to address COVID-19 in the political and administrative arenas close to home reduce anxiety in daily life. 4) Low evaluation of the prime minister promotes the perception of the appropriateness for elections during COVID-19. On the other hand, high evaluation of the governor reduces the response of DK/NA. Elections in the absence of evaluation of the cabinet’s efforts lead to political distrust, and information presented by the governor’s efforts leads to decisions based on the perception of the appropriateness of the elections.

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  The purpose of this study is to determine, in a junior high school music composition class, the function of the material selection by students on creative composition. The process of students' creative composition via the interaction between the inner world and the outer world is analyzed in terms of the material selection.

  Using Dewey's Art as Experience as the basis of this research methodology, we first examine the selection of materials for expression. Next, based on the perspectives obtained from the literature study, we conduct a music composition class at a junior high school, and analyze the process of creative expression through the interaction between the inner world and the outer world from the material selection. Finally, the function of the material selection by the students in the creative composition is discussed.

  In this study, relying on Dewey, we define the materials of expression as outer material, consisting of materials such as marble and paint, which belong to the external world, and inner material, consisting of images, observations, memories, and feelings, which belong to the inner world. The records of classroom practice were then analyzed from the perspective of how the outer material and inner material are selected in creative expression.

  The results of the analysis of the functions of the material selection on creative composition led to the following conclusions. First, it serves as a means to solve the problems that need to be solved in order to carry out the music composition process. Second, it connects the inner material and the outer material by eliciting the inner material of the student.

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　本研究は, 中学校音楽科での鑑賞活動における越境による学びの可能性とその教育的意義を明らかにしようとするものである。実践の場におけるコミュニティ間の境界を超える行為のことを指す「越境」を視点として鑑賞の授業を検討することは, 今日の鑑賞領域が有する課題に対し示唆に富むと考えた。研究方法として, X中学校２年生を対象に「自分で選んだ曲をプレゼンテーションし合う活動」を行い, 実践で選ばれた楽曲, 活動中の生徒の語り, 振り返りに関する記述を対象に分析を行った。結果, 本実践はハイブリダイゼーションの場として機能することで生徒らは音楽科と日常生活, 自己と他者の間の境界を越境し, 水平的・垂直的学習が生成されたことが見出された。

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