Art Department
Bachelor of Arts in Art
Course Offerings in Dept. of Art and Art History
Degree Programs in BA in Art
Toku's Photos
About Art Education
Liberal Studies Concentration
12 Semester Unit Concentration in the Arts
ART 004 - Art Appreciation - 3 Units
MUS 045 - Introduction to Music - 3 Units
THEA 061 - Introduction to Theatre - 3 Units
One Course Chosen From
ART 001A - Art History Survey - 3 Units
ART 001B - Art History Survey - 3 Units
ART 002A - Far Eastern Art Survey - 3 Units
ART 002B - Survey of Arts of the Americas, Oceania & Africa - 3 Units
12 Semester Unit Concentration in Art
ART 004 - Art Appreciation - 3 Units
MUS 045 - Introduction to Music - 3 Units
THEA 061 - Introduction to Theatre - 3 Units
One Course Chosen From
ART 001A - Art History Survey - 3 Units
ART 001B - Art History Survey - 3 Units
ART 002A - Far Eastern Art Survey - 3 Units
ART 002B - Survey of Arts of the Americas, Oceania & Africa - 3 Units
12 Semester Unit Concentration in Art
ART 006 - Beginning Ceramics - 3 Units
ART 003A - Basic Drawing - 3 Units
ART 033 - Beginning Painting - 3 Units
One course chosen from
ART 001A - Art History Survey - 3 Units
ART 001B - Art History Survey - 3 Units
ART 002A - Far Eastern Art Survey - 3 Units
ART 002B - Survey of Arts of the Americas, Oceania & Africa - 3 Units
ART 001B - Art History Survey - 3 Units
ART 002A - Far Eastern Art Survey - 3 Units
ART 002B - Survey of Arts of the Americas, Oceania & Africa - 3 Units
ART 004 - Art Appreciation
A Four Year Degree Advising Guide for the Art Major: Art Education Option (Fall 2003 and after)
http://www.csuchico.edu/~mtoku/bb/afterF03_4%20yr%20degree%20advs.html
Important Notice from Credential Advisor
Procedures of How to Make an Advising Appointment
Please follow the procedures below when you make an appointment with the advisor depending on your status and/or requests.
1. If you have questions regarding GE (General Educational) courses, please contact the following place. I will be able to advise only for the art educational program and the credential program in art.
3. If you are a new and/or transfer student, you are welcome to participate in the University Tour and make an appointment with the Department advisor first.
4. If you are a new and/or transfer student from another school who is applying to the Art Education Program bring copies of all transcripts (unofficial are fine) with you to discuss the appropriate courses that you need to take to successfully complete your degree.
5. If you are a new and/or transfer student who is applying to the Credential Program, bring copies of all transcripts and your Exit Portfolio to support your application.
*Check the required contents of EXIT Portfolio.
6. Check the available schedule of appointments on the office door (Ayres 125) and sign in. (The schedule varies from week to week.)
7. Meet with the advisor at least once a semester to make sure that your coursework is on the right track. Together we will also find the best way (or best possible way) to help you succeed in the field of art education.
8. *If you are a non CSU-Chico student who needs advising (e.g. a waiver letter to apply for a credential program in a school other than CSU, Chico), a special advising fee will be required.
Please contact the advisor (Tel: 530-898-6866 or E-mail: mtoku@csuchico.edu) for the details.
Please follow the procedures below when you make an appointment with the advisor depending on your status and/or requests.
1. If you have questions regarding GE (General Educational) courses, please contact the following place. I will be able to advise only for the art educational program and the credential program in art.
- Academic Advisors: 530-898-5712
- Registration Office: 530-898-4555
- Record Office: 530-898-5143
- Teacher Preparation Program: 530-898-6421
3. If you are a new and/or transfer student, you are welcome to participate in the University Tour and make an appointment with the Department advisor first.
4. If you are a new and/or transfer student from another school who is applying to the Art Education Program bring copies of all transcripts (unofficial are fine) with you to discuss the appropriate courses that you need to take to successfully complete your degree.
5. If you are a new and/or transfer student who is applying to the Credential Program, bring copies of all transcripts and your Exit Portfolio to support your application.
*Check the required contents of EXIT Portfolio.
6. Check the available schedule of appointments on the office door (Ayres 125) and sign in. (The schedule varies from week to week.)
7. Meet with the advisor at least once a semester to make sure that your coursework is on the right track. Together we will also find the best way (or best possible way) to help you succeed in the field of art education.
8. *If you are a non CSU-Chico student who needs advising (e.g. a waiver letter to apply for a credential program in a school other than CSU, Chico), a special advising fee will be required.
Please contact the advisor (Tel: 530-898-6866 or E-mail: mtoku@csuchico.edu) for the details.
Exit Portfolio
Name: Accepted Not accepted Date:
EXIT PORTFOLIO: THE ART EDUCATION OPTION
WHAT IS INCLUDED IN THE PORTFOLIO?
ART EDUCATION OPTION STUDENTS MAKE AN APPOINTMENT WITH THE CREDENTIAL ADVISOR TO DISCUSS THE EXIT PORTFOLIO.
THE PORTFOLIO MUST BE SUBMITTED AT THE TIME OF APPLICATION TO THE CREDENTIAL PROGRAM IN THE CSU CHICO DEPARTMENT OF EDUCATION---AT THE BEGINNING OF THE SEMESTER BEFORE YOUR LAST SEMESTER.
____ 1. A GOOD QUALITY COVER for the 8.5" x 11'' TO 9"X 12"pages (9"x 12" plastic page sleeves are to be used in the portfolio).
____ 2. A TABLE OF CONTENTS PAGE
____ 3. A COVER LETTER FOCUSING ON YOUR EDUCATIONAL AND PROFESSIONAL
DEVELOPMENT.
____ 4. PHILOSOPHY OF ART AND RELATED PHILOSOPHY OF ART EDUCATION.
This is an essay. It should be constructed like one; with an introduction, body and summary. It must include references to at least three sources from literature directly involved in the professional field of Art Education.
EXIT PORTFOLIO: THE ART EDUCATION OPTION
WHAT IS INCLUDED IN THE PORTFOLIO?
ART EDUCATION OPTION STUDENTS MAKE AN APPOINTMENT WITH THE CREDENTIAL ADVISOR TO DISCUSS THE EXIT PORTFOLIO.
THE PORTFOLIO MUST BE SUBMITTED AT THE TIME OF APPLICATION TO THE CREDENTIAL PROGRAM IN THE CSU CHICO DEPARTMENT OF EDUCATION---AT THE BEGINNING OF THE SEMESTER BEFORE YOUR LAST SEMESTER.
____ 1. A GOOD QUALITY COVER for the 8.5" x 11'' TO 9"X 12"pages (9"x 12" plastic page sleeves are to be used in the portfolio).
____ 2. A TABLE OF CONTENTS PAGE
____ 3. A COVER LETTER FOCUSING ON YOUR EDUCATIONAL AND PROFESSIONAL
DEVELOPMENT.
____ 4. PHILOSOPHY OF ART AND RELATED PHILOSOPHY OF ART EDUCATION.
This is an essay. It should be constructed like one; with an introduction, body and summary. It must include references to at least three sources from literature directly involved in the professional field of Art Education.
____ 5. BUSINESS CARD. This should be a prototype of an original design by the candidate.
____ 6. CURRICULUM VITAE.
____ 7. TWENTY 35 mm COLOR SLIDES WITH ACCOMPANYING LIST OF THE NUMBERED
SLIDES:
YOU HAVE PARTICIPATED.
____ 9. A SAMPLE OF YOUR WRITING ABOUT VISUAL ART:
This should be a sample of your writing about Visual Art while enrolled in a class, no earlier than at the undergraduate level of your education. This may be a particularly successful art history paper, gallery exhibit review, or other paper addressing an issue related to visual art.
____ 10. OPTIONAL; ONE 8" X 10", OR TWO 5" X 7", BLACK & WHITE PHOTOGRAPHIC
PRINTS OF YOUR WORK. ---PRINTS PRODUCED IN A CHEMICAL DARKROOM, NOT ON A COMPUTER.
____ 11. OPTIONAL; ONE 8"X10", OR TWO 5"X 7", DIGITAL PHOTOGRAPHIC PRINTS OF
YOUR WORK. Prints may be in black and white or color. ---PRINTS PRODUCED ON A COMPUTER, IN THE DIGITAL DARKROOM.
____ 12. OPTIONAL; ANY OTHER INFORMATION THAT BEST MARKETS YOUR ART AND ART EDUCATION RELATED SKILLS AND EXPERIENCE.
____ 6. CURRICULUM VITAE.
____ 7. TWENTY 35 mm COLOR SLIDES WITH ACCOMPANYING LIST OF THE NUMBERED
SLIDES:
- _____ TEN SLIDES SHOWING BREADTH OF EXPERTISE AND TEN SLIDES SHOWING DEPTH OF EXPERTISE.
- _____ EACH SLIDE SHOULD PROVIDE INFORMATION ABOUT MEDIA, DIMENSIONS, VISUAL ART FORM, TITLE, DATE OF PRODUCTION.
- _____ A PAGE LISTING THE NUMBERED SLIDES (includes the information listed on the slides).
YOU HAVE PARTICIPATED.
____ 9. A SAMPLE OF YOUR WRITING ABOUT VISUAL ART:
This should be a sample of your writing about Visual Art while enrolled in a class, no earlier than at the undergraduate level of your education. This may be a particularly successful art history paper, gallery exhibit review, or other paper addressing an issue related to visual art.
____ 10. OPTIONAL; ONE 8" X 10", OR TWO 5" X 7", BLACK & WHITE PHOTOGRAPHIC
PRINTS OF YOUR WORK. ---PRINTS PRODUCED IN A CHEMICAL DARKROOM, NOT ON A COMPUTER.
____ 11. OPTIONAL; ONE 8"X10", OR TWO 5"X 7", DIGITAL PHOTOGRAPHIC PRINTS OF
YOUR WORK. Prints may be in black and white or color. ---PRINTS PRODUCED ON A COMPUTER, IN THE DIGITAL DARKROOM.
____ 12. OPTIONAL; ANY OTHER INFORMATION THAT BEST MARKETS YOUR ART AND ART EDUCATION RELATED SKILLS AND EXPERIENCE.
Art Education Assessment Committee Chair Signature:
Before prospective candidates for the single subject teaching credential are recommended to a credential program, they are required to present an exit portfolio demonstrating breadth and depth of subject matter competency.
Students completing the Art Education Option are to complete an exit portfolio requirement. The portfolio is to be assessed by the Subject Matter Preparation Advisory and Assessment Committee, according to completion and accuracy of required content, and presentation of the materials. For those planning to apply to the credential program, the completed portfolio is due at the beginning of the semester of application, or no later than the beginning of the last semester before graduation. The portfolio is submitted to the Art Department Credential Advisor for review. The student should be collecting materials for the portfolio throughout the undergraduate years up to the time of submission. Students should discuss progress in regard to the portfolio with the credential advisor each semester throughout their enrollment in the option.
Before prospective candidates for the single subject teaching credential are recommended to a credential program, they are required to present an exit portfolio demonstrating breadth and depth of subject matter competency.
Students completing the Art Education Option are to complete an exit portfolio requirement. The portfolio is to be assessed by the Subject Matter Preparation Advisory and Assessment Committee, according to completion and accuracy of required content, and presentation of the materials. For those planning to apply to the credential program, the completed portfolio is due at the beginning of the semester of application, or no later than the beginning of the last semester before graduation. The portfolio is submitted to the Art Department Credential Advisor for review. The student should be collecting materials for the portfolio throughout the undergraduate years up to the time of submission. Students should discuss progress in regard to the portfolio with the credential advisor each semester throughout their enrollment in the option.
Portfolio of Children's Art
All Images
Adolescent
Gang Age
Haptic
Preschematic
Psuedo-Naturalistic
Schematic
Scribbles
Adolescent
Gang Age
Haptic
Preschematic
Psuedo-Naturalistic
Schematic
Scribbles
CSU Art Education: Advising Bulletin Board
Important Notice from Credential Advisor
Information of Single Subject in Art
About Art Education
About Art Department
General Information of CSU, Chico
Information of Single Subject in Art
About Art Education
About Art Department
General Information of CSU, Chico
ART 207 - Development of Children's Art
Dr. Sharon Smith
Ayres 123
Office hours:
Email address: SASmith@csuchico.edu
Art for the child is more than just drawing, painting and working with clay. It is a basic processes embodied in conceptualized learning and is a means of creative communication for the child. Many children find learning enhanced through the combining the processes of verbal and auditory presentation with manipulative activity involving the physical, visual and tactile aspects of artistic creation. Within each piece of child art is the "feelings, intellectual abilities, perceptual sensitivities, creative involvement, social development, and aesthetic awareness" of that child. This course will define the developmental stages that are typical for children throughout the pre-school and elementary school years. Involvement with art media and art processes appropriate to the developmental levels we are studying will, we hope, stimulate your awareness of the interactive components of the creative process. Those eight interactive components of creativity are "fluency in thinking, flexibility, originality, elaborate thinking, risk taking, complexity, curiosity, and imagination”. These components are primary to aesthetic growth and artistic production for both the child and the adult. Art, however, is not the same for the adult as it is for the child. Art for the adult focuses upon the product that is created while art for the child (and for the adult artist) most often focuses on the process that leads to the final art product. As adults, we will need to explore the creative process through making art products. The processes that we will go through will help us to better understand the child’s attitudes toward creativity. We will be looking toward the creative process as developing an openness toward "finding the unknown challenges, coming up with many thoughts and ideas, looking for differences and similarities," and," having unique and original thoughts." Finally, we will, through our interactive involvement in the creative process, attempt to enhance our own personal creative attitudes.
Class Format and Text:
This is a lecture/lab class that meets four hours each week. The format is based upon student involvement in the learning experience thus attendance is mandatory for both the lecture and the lab portions of the class. Lectures, slides and demonstrations will occur on either of the class meeting days whenever it is deemed to be most appropriate and would best meet the needs of the curricula. The text for this class will be “Artworks For Elementary Teachers: Developing Artistic and Perceptual Awareness” by Donald and Barbara Herberholz. The text is available at the student bookstore. The lab for this class consists of hands-on participation in the creative process. While it is understood that not all students enrolled in this class have had previous experience in the creative arts process; the student is expected to work to their highest potential. Focus is on both process and product.
Grading:
There will be three Quizzes and a Final Exam. The quizzes will be graded in class and the scores recorded by the teacher. The quizzes will be returned to the student to be held by them until the final exam date. The student will be given the opportunity to use, if desired, the total scores from these quizzes in lieu of taking the final exam. If that choice is selected then all quizzes must be turned in to the instructor. The grade for the Final exam (or the total quiz scores) will be weighted as one half of the final grade. The other half of the final grade will be based on the students’ attendance, the activity level and participation in class assignments and on the presentation of the class activity portfolio. The activity portfolio is an artistically presented compilation of all information and processes / activities experienced in the class. The initial construction of the portfolio will be started in class (completed at home) and will form a visual notebook of the students’ participation in the class. Each individual art products will not be letter-graded but will be part of the graded portfolio. The participation grade will include: attendance, punctuality, being ready with any individualized or specific materials, working throughout the entire lab period, active involvement in group activities (including clean up of individual and common areas, putting away tools and materials). The portfolio will be evaluated ‘in-progress’ at mid-term and as a completed unit at the end of the semester.
Activity Fee and recommended additional equipment
There is a $20.00 in-lieu fee for this class that has been included, if you pre-enrolled, in your fee packet. If you are adding the class you must pay the in-lieu fee within the first two weeks of class. The fee is payable at the cashiers window upstairs in Kendall Hall. The in-lieu fee is used to provide you with the majority of materials needed during the semester. This includes all handouts, computer supplies, paints, papers, clays, glazes, fabrics, glues and other art materials. Each student is required to have a 100 mb. Mac formatted Zip disk to be used to store the digital photographs of their art products. These digital photographs will be taken and processed in class. The digital photographs will become a major portion of the art portfolio.
Many of the art activities experienced in this class may be a bit messy. You may want to bring an apron or an old shirt to protect your clothing. While the materials that we use are all non-toxic some will stain your clothing and hands. You may, occasionally, want to provide yourself with a pair of disposable latex gloves.
Ayres 123
Office hours:
Email address: SASmith@csuchico.edu
Art for the child is more than just drawing, painting and working with clay. It is a basic processes embodied in conceptualized learning and is a means of creative communication for the child. Many children find learning enhanced through the combining the processes of verbal and auditory presentation with manipulative activity involving the physical, visual and tactile aspects of artistic creation. Within each piece of child art is the "feelings, intellectual abilities, perceptual sensitivities, creative involvement, social development, and aesthetic awareness" of that child. This course will define the developmental stages that are typical for children throughout the pre-school and elementary school years. Involvement with art media and art processes appropriate to the developmental levels we are studying will, we hope, stimulate your awareness of the interactive components of the creative process. Those eight interactive components of creativity are "fluency in thinking, flexibility, originality, elaborate thinking, risk taking, complexity, curiosity, and imagination”. These components are primary to aesthetic growth and artistic production for both the child and the adult. Art, however, is not the same for the adult as it is for the child. Art for the adult focuses upon the product that is created while art for the child (and for the adult artist) most often focuses on the process that leads to the final art product. As adults, we will need to explore the creative process through making art products. The processes that we will go through will help us to better understand the child’s attitudes toward creativity. We will be looking toward the creative process as developing an openness toward "finding the unknown challenges, coming up with many thoughts and ideas, looking for differences and similarities," and," having unique and original thoughts." Finally, we will, through our interactive involvement in the creative process, attempt to enhance our own personal creative attitudes.
Class Format and Text:
This is a lecture/lab class that meets four hours each week. The format is based upon student involvement in the learning experience thus attendance is mandatory for both the lecture and the lab portions of the class. Lectures, slides and demonstrations will occur on either of the class meeting days whenever it is deemed to be most appropriate and would best meet the needs of the curricula. The text for this class will be “Artworks For Elementary Teachers: Developing Artistic and Perceptual Awareness” by Donald and Barbara Herberholz. The text is available at the student bookstore. The lab for this class consists of hands-on participation in the creative process. While it is understood that not all students enrolled in this class have had previous experience in the creative arts process; the student is expected to work to their highest potential. Focus is on both process and product.
Grading:
There will be three Quizzes and a Final Exam. The quizzes will be graded in class and the scores recorded by the teacher. The quizzes will be returned to the student to be held by them until the final exam date. The student will be given the opportunity to use, if desired, the total scores from these quizzes in lieu of taking the final exam. If that choice is selected then all quizzes must be turned in to the instructor. The grade for the Final exam (or the total quiz scores) will be weighted as one half of the final grade. The other half of the final grade will be based on the students’ attendance, the activity level and participation in class assignments and on the presentation of the class activity portfolio. The activity portfolio is an artistically presented compilation of all information and processes / activities experienced in the class. The initial construction of the portfolio will be started in class (completed at home) and will form a visual notebook of the students’ participation in the class. Each individual art products will not be letter-graded but will be part of the graded portfolio. The participation grade will include: attendance, punctuality, being ready with any individualized or specific materials, working throughout the entire lab period, active involvement in group activities (including clean up of individual and common areas, putting away tools and materials). The portfolio will be evaluated ‘in-progress’ at mid-term and as a completed unit at the end of the semester.
Activity Fee and recommended additional equipment
There is a $20.00 in-lieu fee for this class that has been included, if you pre-enrolled, in your fee packet. If you are adding the class you must pay the in-lieu fee within the first two weeks of class. The fee is payable at the cashiers window upstairs in Kendall Hall. The in-lieu fee is used to provide you with the majority of materials needed during the semester. This includes all handouts, computer supplies, paints, papers, clays, glazes, fabrics, glues and other art materials. Each student is required to have a 100 mb. Mac formatted Zip disk to be used to store the digital photographs of their art products. These digital photographs will be taken and processed in class. The digital photographs will become a major portion of the art portfolio.
Many of the art activities experienced in this class may be a bit messy. You may want to bring an apron or an old shirt to protect your clothing. While the materials that we use are all non-toxic some will stain your clothing and hands. You may, occasionally, want to provide yourself with a pair of disposable latex gloves.
ART 207 - Development of Children's Art
ART 207
Development of Children's Art
Section 07
Course Instructor: Nancy Meyer
Meets: Tuesday & Thursday 12:00-1:50 p.m.
Office Hours: M & W 9-10 am
Location: Taylor 201
Phone #: 898-5331
Mail Box: Art Office Ayres 107
Art in the lives of children: art and child development; artistic and aesthetic understanding; creative expression; historical and cultural heritage. Class meets two days a week for a total of four hours. The scheduled four hours a week will provide a blending of 2.0 hours discussion and 2.0 hours activity.
Art 207 has been structured to provide the facilitator of children's art with a practical and philosophical bases for designing and teaching developmentally appropriate art curriculum. Lecture, discussion, and art projects will focus upon providing the liberal studies major or elementary teacher with knowledge, skills, and experience with art making in addition to examining the role of visual art in children's lives and the role of the facilitator in nurturing children's creative expression and aesthetic sensitivity.
The purpose of this course is to:
1. Understand and apply national and state standards towards elementary art curriculum development.
2. Provide those who might design children's art curriculum with hands-on artistic, creative, and aesthetic experience with art making, criticism, and evaluation in which to gain knowledge, skills, and experience specific to art.
3. Develop an awareness of children's art.
4. Gain a basic understanding and philosophical background toward implementing children's visual art experience.
5. Integrate art with other academic subjects in elementary school.
6. Examine the roll of art history and cultural differences in art education
7. Create a media, materials, and techniques book of well-crafted samples that can be adapted to a variety of elementary levels as a teachers resource.
COURSE CONTENT:
According to Dr. Simmons, "In recent years the field of Art (Visual Art) Education has seen some changes. We have known for a long time that Art is not merely a recreational activity related to studio practice, (the materials and activities approach). Neither is it just a cognitive activity related to art appreciation or criticism, (looking at and talking about art). Art is a valuable tool for the encouragement of development of the mind (using higher order thinking skills), the emotions (expression of significant human experience) and the senses (sensitive awareness of the physical and visual environment).
Regardless of changing trends in art education, there are still some basics that do not change. Parents, teachers and other facilitators must understand the differences among children. They must understand likenesses and differences in children's art within and between stages of development, as well as other aspects of their own growth and development. It is even more important now than in years past, that adults become aware of the importance of visual art (actually all of the arts), art processes and content, and their place in educational programs. It is toward the child's thinking, feeling and perceiving in the context of the Visual Arts that we will direct our inquiry in this course.
This course consists of a series of lectures and readings concerning the philosophy, processes, and content of the Visual Arts. Appropriate experiences (including studio practice) in the areas of artistic perception, creative expression, cultural and historical contexts, and aesthetic valuing will be provided in relation to the growth and development of children. The lab for this class consists of hand-on participation in the creative process. While it is understood that not all students enrolled in this class have had previous experience in the visual arts: the student is expected to try to work at their highest potential."
STUDIO:
There will be many studio projects to complete throughout the semester. Because of the amount of material needed to be covered in class occasionally you may need to complete studio projects on your own time as homework. If this is the case, you may use the classroom when there are no classes present (check the available open hours posted outside the classroom door). Weekends are also a option but, at such times when the classroom (and possibly the building) is locked you will need to use your building access pass and call campus security to let you in the room. Note: Access to the supply room in the back of the classroom will not be open to student use outside our class time, therefore if you need supplies to work at other times make arrangements for supplies with the instructor in advance.
* It is the student's responsibility to clean-up materials and classroom when used during class and open lab hours.
ATTENDANCE:
This course contains a great deal of material that is very difficult to make up, so daily attendance and genuine effort is important. Attendance, preparedness and punctuality are all considered as part of your professional development. More than 2 absences will result in a reduction of your grade (i.e. A to A-) and for every additional absence another half of grade will be deducted. Late arrival/early departures indicate level of commitment to the class and will also affect your grade. Any class behavior, which distracts or undermines an atmosphere conductive to learning - poor attitude, chatting, sleeping, reading newspapers,- will not be tolerated. The instructor reserves the right to regard any student behaving this way as absent for the day.
* No late work will be accepted unless you have missed class due to serious and compelling reasons, then late work may be accepted within a reasonable time frame upon prior approval of the instructor. You are responsible for material covered in class whether or not you were present.
WRITTEN ASSIGNMENTS:
Unless otherwise instructed all written assignments must be submitted in final form, on time, proof read and typed.
A MISCELLANEOUS COURSE FEE:
Of $20.00 is required for use of studio materials and was added to your fee statement when you enrolled for the class.
**I reserve the right to alter the course content and grade points if unforeseen circumstances arise. In which case the class will be promptly notified.
GRADING:
Is in accordance with the university catalog, and based on percentage of points achieved in relation to points available.
The course grade will be based upon 300 points weighted in the following manner:
Assignment Points Possible_______________
A = 300-285 A- = 284-270
B+ = 269-258 B = 257-254 B- = 253-240
C+ = 239-228 C = 227-224 C- = 223-210
D+ = 209-198 D = 197-194 D- = 193-180
F = 179-000
* Studio work will be graded as part of the materials and techniques book (150 points -listed above) and will be evaluated on the basis of craftsmanship, originality, and demonstrated understanding of the theories of children's artistic development and the issues involved. Going beyond the minimum requirements is the mark of an excellent student, and will be reflected in your grade.
ENJOY LEARNING ABOUT CHILDREN'S ART
Development of Children's Art
Section 07
Course Instructor: Nancy Meyer
Meets: Tuesday & Thursday 12:00-1:50 p.m.
Office Hours: M & W 9-10 am
Location: Taylor 201
Phone #: 898-5331
Mail Box: Art Office Ayres 107
E-mail: Nroymeyer@ aol.com
Required Text: Herberholz & Herberholz (2002). Artworks (9th Ed.)
Note: Other handouts will be given. Your text will also be supplemented with many exerts from Creative and Mental Growth by Victor Lowenfeld (eighth edition [out of print] ) that can be accessed either from books on reserve in the CSUC library or on-line through WebCT: Art 207 Development of Children's Art. Information concerning WebCT will be discussed in class. Internet access is required for this course.
COURSE DESCRIPTION:
Required Text: Herberholz & Herberholz (2002). Artworks (9th Ed.)
Note: Other handouts will be given. Your text will also be supplemented with many exerts from Creative and Mental Growth by Victor Lowenfeld (eighth edition [out of print] ) that can be accessed either from books on reserve in the CSUC library or on-line through WebCT: Art 207 Development of Children's Art. Information concerning WebCT will be discussed in class. Internet access is required for this course.
COURSE DESCRIPTION:
Art in the lives of children: art and child development; artistic and aesthetic understanding; creative expression; historical and cultural heritage. Class meets two days a week for a total of four hours. The scheduled four hours a week will provide a blending of 2.0 hours discussion and 2.0 hours activity.
Art 207 has been structured to provide the facilitator of children's art with a practical and philosophical bases for designing and teaching developmentally appropriate art curriculum. Lecture, discussion, and art projects will focus upon providing the liberal studies major or elementary teacher with knowledge, skills, and experience with art making in addition to examining the role of visual art in children's lives and the role of the facilitator in nurturing children's creative expression and aesthetic sensitivity.
Topics of study are as follows:
- National and state guidelines for teaching art in elementary school.
- The importance of art education and art in children's lives.
- Different philosophical and theoretical approaches to teaching children art with an emphasis on the developmental perspective.
- Children's art making: The nature of children's artistic development.
- Instructional strategies for motivating children's creative self-expression and aesthetic sensitivity.
- Art education: Discipline specific knowledge, skills, and activity.
- Integrating art with other subject areas within the elementary school curriculum.
- Applying art criticism, art history, and art appreciation in understanding artworks.
The purpose of this course is to:
1. Understand and apply national and state standards towards elementary art curriculum development.
2. Provide those who might design children's art curriculum with hands-on artistic, creative, and aesthetic experience with art making, criticism, and evaluation in which to gain knowledge, skills, and experience specific to art.
3. Develop an awareness of children's art.
4. Gain a basic understanding and philosophical background toward implementing children's visual art experience.
5. Integrate art with other academic subjects in elementary school.
6. Examine the roll of art history and cultural differences in art education
7. Create a media, materials, and techniques book of well-crafted samples that can be adapted to a variety of elementary levels as a teachers resource.
COURSE CONTENT:
According to Dr. Simmons, "In recent years the field of Art (Visual Art) Education has seen some changes. We have known for a long time that Art is not merely a recreational activity related to studio practice, (the materials and activities approach). Neither is it just a cognitive activity related to art appreciation or criticism, (looking at and talking about art). Art is a valuable tool for the encouragement of development of the mind (using higher order thinking skills), the emotions (expression of significant human experience) and the senses (sensitive awareness of the physical and visual environment).
Regardless of changing trends in art education, there are still some basics that do not change. Parents, teachers and other facilitators must understand the differences among children. They must understand likenesses and differences in children's art within and between stages of development, as well as other aspects of their own growth and development. It is even more important now than in years past, that adults become aware of the importance of visual art (actually all of the arts), art processes and content, and their place in educational programs. It is toward the child's thinking, feeling and perceiving in the context of the Visual Arts that we will direct our inquiry in this course.
This course consists of a series of lectures and readings concerning the philosophy, processes, and content of the Visual Arts. Appropriate experiences (including studio practice) in the areas of artistic perception, creative expression, cultural and historical contexts, and aesthetic valuing will be provided in relation to the growth and development of children. The lab for this class consists of hand-on participation in the creative process. While it is understood that not all students enrolled in this class have had previous experience in the visual arts: the student is expected to try to work at their highest potential."
STUDIO:
There will be many studio projects to complete throughout the semester. Because of the amount of material needed to be covered in class occasionally you may need to complete studio projects on your own time as homework. If this is the case, you may use the classroom when there are no classes present (check the available open hours posted outside the classroom door). Weekends are also a option but, at such times when the classroom (and possibly the building) is locked you will need to use your building access pass and call campus security to let you in the room. Note: Access to the supply room in the back of the classroom will not be open to student use outside our class time, therefore if you need supplies to work at other times make arrangements for supplies with the instructor in advance.
* It is the student's responsibility to clean-up materials and classroom when used during class and open lab hours.
ATTENDANCE:
This course contains a great deal of material that is very difficult to make up, so daily attendance and genuine effort is important. Attendance, preparedness and punctuality are all considered as part of your professional development. More than 2 absences will result in a reduction of your grade (i.e. A to A-) and for every additional absence another half of grade will be deducted. Late arrival/early departures indicate level of commitment to the class and will also affect your grade. Any class behavior, which distracts or undermines an atmosphere conductive to learning - poor attitude, chatting, sleeping, reading newspapers,- will not be tolerated. The instructor reserves the right to regard any student behaving this way as absent for the day.
* No late work will be accepted unless you have missed class due to serious and compelling reasons, then late work may be accepted within a reasonable time frame upon prior approval of the instructor. You are responsible for material covered in class whether or not you were present.
WRITTEN ASSIGNMENTS:
Unless otherwise instructed all written assignments must be submitted in final form, on time, proof read and typed.
A MISCELLANEOUS COURSE FEE:
Of $20.00 is required for use of studio materials and was added to your fee statement when you enrolled for the class.
**I reserve the right to alter the course content and grade points if unforeseen circumstances arise. In which case the class will be promptly notified.
GRADING:
Is in accordance with the university catalog, and based on percentage of points achieved in relation to points available.
The course grade will be based upon 300 points weighted in the following manner:
Assignment Points Possible_______________
Note: Specific assignment requirements will be discussed as they are given throughout the semester.
Materials & techniques book (Note: * below) 150
3 tests 20 + 20 + 20 60
Short homework assignments (5 assignments, 5 pts. each) 25
Art Critique 15
Creativity Lesson Plan 10
1 field study/presentation 40
Total points available 300
GRADE PROFILE
Materials & techniques book (Note: * below) 150
3 tests 20 + 20 + 20 60
Short homework assignments (5 assignments, 5 pts. each) 25
Art Critique 15
Creativity Lesson Plan 10
1 field study/presentation 40
Total points available 300
GRADE PROFILE
A = 300-285 A- = 284-270
B+ = 269-258 B = 257-254 B- = 253-240
C+ = 239-228 C = 227-224 C- = 223-210
D+ = 209-198 D = 197-194 D- = 193-180
F = 179-000
* Studio work will be graded as part of the materials and techniques book (150 points -listed above) and will be evaluated on the basis of craftsmanship, originality, and demonstrated understanding of the theories of children's artistic development and the issues involved. Going beyond the minimum requirements is the mark of an excellent student, and will be reflected in your grade.
ENJOY LEARNING ABOUT CHILDREN'S ART
ART 91-02 Intro Art Photography
ART 91-02 INTRODUCTION OF ART PHOTOGRAPHY
CLASS SYLLABUS
FALL 2003
COURSE INFORMATION
Class Meets: Mon. & Wed. 2-4:50 P.M.
Classroom: CSUC, Ayres 103
Textbook: Black & White Photography: A Basic Manual, By Henry Horenstein
Mail Box: CSU Chico Art Office - Ayres 107
INSTRUCTOR
Instructor: Nancy Meyer
Phone #: CSU Chico Art Office 898-5331
Office Hours: M & W 9-10 A.M. CSUC Taylor 201
E-mail: Nroy-meyer@aol.com
Final: Mon. 12/15/03, 2-3:50 P.M.
COURSE DESCRIPTION
This course provides students the opportunity to learn and apply skills in the areas of basic 35mm camera use, traditional black & white film processing and black & white printing. In addition, there will be an investigation of new technologies and photography with an introduction to Adobe Photoshop. Creative expression will be emphasized, focusing on personal vision as well as formal qualities of art making, with an approach to photography as a fine art form. Students will utilize their understanding of the course material as they create, critique, observe, and discuss their work as well as others. These activities will provide the student with the knowledge, skills and experience in basic black and white photography as an expressive medium with a unique history and will provide you the prerequisites to take advanced courses in photography.
REQUIREMENTS
ALL STUDENTS ARE REQUIRED TO:
1. Participate in class regularly. You will be responsible for work done in class or
assigned whether or not you are present. Non-participation will be considered an
indication of your lack of commitment to the class and can be reflected in your grade.
2. Satisfactorily complete all class assignments, readings, and projects by date or time
indicated by the instructor. Late work will be accepted with appropriate reduction in
grade. If work is late due to an illness or other unforeseen circumstances, upon
instructor approval, there will be no deduction in grade if turned in according to the
instructor's revised deadline.
3. Become aware of technical, creative, formal, and conceptual elements in photography.
Gain knowledge of photography's historical and contemporary contributions to our
visual environment and the art world.
4. Make the transition from a snap-shot approach to photography, to a fine art approach,
utilizing the skills listed above in #3.
ACTIVITIES
ALL STUDENTS ARE REQUIRED TO:
1. Attend one photography exhibit that is on public display and write a critique of the
exhibit using the critique format provided by the instructor. Anyone of the following
types of institutions is a good source for viewing art: Museums, Galleries, and art
exhibits on school campuses. Other institutions that house artwork go see, but before
writing a critique from such a place, get instructor approval. Critiques on photography
located in private homes, books, or magazines will not be accepted. Critiques written
from memory of photographs seen before this semester will also not be accepted.
2. A minimum of five photo projects. Each photo project will come with an in depth
description of the project and all the requirements for that particular assignment.
3. Photo Technique Samples - Samples of at least 4 different techniques from the list of
photo techniques (included in this syllabus) that will be covered in class through
demos and lecture.
4. There will be some in class assignments based upon class lecture and reading. You will
have handouts describing these assignments as we get to that particular portion of the
class. In addition, there will be some library research on photographers assigned
throughout the semester.
5. Quizzes - you can expect to get a minimum of three comprehension quizzes to check
for your understanding of the reading material and class lectures.
6. There will be 1 hour of directed study per week, which will be library research. Each
photo project requires library research where photography books will be utilized to
locate photographs which pertain to the current assignment.
TOPICS TO BE COVERED
1.) History of Photography
2. ) The Camera
3. ) Operating the Camera
4. ) Exposing Film
5. ) Developing Film
6. ) Working in the Darkroom - Printmaking
7.) Shooting for Composition
8.) Creativity & Awareness
9.) Visual Expression & Conceptual Issues
10.) Working in the Darkroom - More About Printmaking
11.) Dry Mounting Prints and Other Matting Techniques
12.) Alternative Printing Processes such as: Non-silver printing (cyan-o-type) and new
technologies (digital darkroom).
13.) Many Demos in areas such as: Toning, Hand coloring, Solarization etc.
MATERIALS LIST REQUIRED FOR INTRO-ART PHOTOGRAPHY
1.) Manual 35mm camera ideally with a variety of lenses i.e. wide angle (28mm),
telephoto (135mm), & normal lens (50mm)
2.) Film -
Ilford PAN F 50 ASA 36 exposrue
Ilford Delta 125 ASA 36 exposure
Ilford HP5 400 ASA 12, 24, & 36 exposure.
3.) Print Paper -
Ilford Multigrade IV RC Paper, Pearl finish size 8x10, amount 25 sheets (Note: you
will use several packs of this paper (25 sheets each) therefore, you may consider
buying this paper in a 100 sheet box. It is a little less expensive and saves you time
from running back and forth to the camera store.
Ilford Fiber Based Paper, matte finish size 11x14 10 sheets
4.) Negative selves - at least 10 sheets to start with.
5.) Dry mounting tissue at least one 8x10 sheet for RC paper.
6.) Negative Brush.
7.) A tripod is highly recommended, but not mandatory.
8.) Access to a computer with a photoshop program.
9.) As the semester unfolds you may wish to purchase additional supplies after seeing
class demos.
Note: Any student with special needs or considerations is encouraged to speak with the instructor in order to facilitate their circumstances.
Expected cost for each student enrolled in this class varies depending upon the student, amount of work, and interest of different materials. Minimum cost for each student, minus the cost of the camera, could be in the neighborhood of $100. - $200.
ASSESSMENT
Photography projects and accompanying self-critiques are due at the beginning of each and every critique. No project will be accepted without the reflective write at the time it is due. Reflective writes are to be typewritten! Late projects will be graded no higher than a C. The later the project is turned in the lower your chances are of obtaining a C grade. The grading of photographic projects will be based upon technical achievement, creative, thoughtful, and original expression. The grading of all other assignments will be discussed prior to their commencement
NOTE: Consistent participation and being prepared to work every class session is absolutely necessary to the successful completion of this class (refer to enclosed handout regarding attendance procedures). Roll will be taken in the first ten minutes of class. Coming to class without new negatives to develop/print will mean having little to do during lab time. This can be a major problem because class time is to be sent in class not out shooting your film that is to be done for homework! Expect to devote at least six hours per week, every week outside of class, shooting film for your projects. To do well in this class students should be self-motivated, honestly interested in creating meaningful artwork and on time with their assignments. The only trouble students occasionally have in this course begins with the false assumption it can be placed on the "back-burner" of one's semester course-load. This should be an interesting and enjoyable class but it will most likely not be an "easy" class!
Note: If for some unforeseen circumstances, a change in course material, assignments, or points for assignments occur, advanced notice will be given to the class.
GRADING PROFILE
The following is a % breakdown of the value each different requirement weighs when figuring your final grade for this course.
Class participation/attendance = 20%
Photography Projects & Portfolio = 50%
Other assignments, tests, & critique = 30%
GRADE DEFINITION (RUBRICS)
(A) SUPERIOR
The student's work clearly illustrates a mastery of basic photography skills (camera use, film exposure & development), techniques, materials, & formal qualities (principles & elements of design) of composition. The content of the artwork goes well beyond the assignment, and is innovative or evokes questions, or new interpretations. The student is always on time, prepared to work, no missing assignments and does not miss class.
(B) STRONG
The student's work shows a very good understanding of basic photography skills, and the assignment as stated or implied, and employs the most appropriate photo techniques, materials, tools, and art elements and principles of design. The work displays fine craftsmanship and is well reasoned, insightful and includes appropriate visual imagery to support or amplify the point of view. The student is always on time, prepared to work, no missing assignments and rarely misses class.
(C) ADEQUATE
The student's work shows understanding of basic photography skills, and assignment as stated or implied and a general understanding of the appropriate use of techniques, materials, tools, and art elements and principles of design, craftsmanship or point of view. The student is prepared to work, no missing assignments and seldom is late or misses class.
(D) INADEQUATE
The student's work shows incomplete understanding of basic photography skills, and assignment as stated or implied and demonstrates inappropriate use of techniques, materials, tools, and art elements and principles of design. The work displays poor craftsmanship or is incomplete and odes not have enough visual imagery to support point of view. The student is often not prepared to work, missing assignments, occasionally is late to class and absences are excessive.
(F) UNACCEPTABLE
The student's work does not demonstrate understanding of basic photography skills, and the assignment. The work does not contain enough visual evidence to evaluate understanding of techniques, materials, tools, art elements and principles of design, craftsmanship or point of view. The student is frequently not prepared to work, missing assignments, often late to class and class absences are extreme.
CLASS SYLLABUS
FALL 2003
COURSE INFORMATION
Class Meets: Mon. & Wed. 2-4:50 P.M.
Classroom: CSUC, Ayres 103
Textbook: Black & White Photography: A Basic Manual, By Henry Horenstein
Mail Box: CSU Chico Art Office - Ayres 107
INSTRUCTOR
Instructor: Nancy Meyer
Phone #: CSU Chico Art Office 898-5331
Office Hours: M & W 9-10 A.M. CSUC Taylor 201
E-mail: Nroy-meyer@aol.com
Final: Mon. 12/15/03, 2-3:50 P.M.
COURSE DESCRIPTION
This course provides students the opportunity to learn and apply skills in the areas of basic 35mm camera use, traditional black & white film processing and black & white printing. In addition, there will be an investigation of new technologies and photography with an introduction to Adobe Photoshop. Creative expression will be emphasized, focusing on personal vision as well as formal qualities of art making, with an approach to photography as a fine art form. Students will utilize their understanding of the course material as they create, critique, observe, and discuss their work as well as others. These activities will provide the student with the knowledge, skills and experience in basic black and white photography as an expressive medium with a unique history and will provide you the prerequisites to take advanced courses in photography.
REQUIREMENTS
ALL STUDENTS ARE REQUIRED TO:
1. Participate in class regularly. You will be responsible for work done in class or
assigned whether or not you are present. Non-participation will be considered an
indication of your lack of commitment to the class and can be reflected in your grade.
2. Satisfactorily complete all class assignments, readings, and projects by date or time
indicated by the instructor. Late work will be accepted with appropriate reduction in
grade. If work is late due to an illness or other unforeseen circumstances, upon
instructor approval, there will be no deduction in grade if turned in according to the
instructor's revised deadline.
3. Become aware of technical, creative, formal, and conceptual elements in photography.
Gain knowledge of photography's historical and contemporary contributions to our
visual environment and the art world.
4. Make the transition from a snap-shot approach to photography, to a fine art approach,
utilizing the skills listed above in #3.
ACTIVITIES
ALL STUDENTS ARE REQUIRED TO:
1. Attend one photography exhibit that is on public display and write a critique of the
exhibit using the critique format provided by the instructor. Anyone of the following
types of institutions is a good source for viewing art: Museums, Galleries, and art
exhibits on school campuses. Other institutions that house artwork go see, but before
writing a critique from such a place, get instructor approval. Critiques on photography
located in private homes, books, or magazines will not be accepted. Critiques written
from memory of photographs seen before this semester will also not be accepted.
2. A minimum of five photo projects. Each photo project will come with an in depth
description of the project and all the requirements for that particular assignment.
3. Photo Technique Samples - Samples of at least 4 different techniques from the list of
photo techniques (included in this syllabus) that will be covered in class through
demos and lecture.
4. There will be some in class assignments based upon class lecture and reading. You will
have handouts describing these assignments as we get to that particular portion of the
class. In addition, there will be some library research on photographers assigned
throughout the semester.
5. Quizzes - you can expect to get a minimum of three comprehension quizzes to check
for your understanding of the reading material and class lectures.
6. There will be 1 hour of directed study per week, which will be library research. Each
photo project requires library research where photography books will be utilized to
locate photographs which pertain to the current assignment.
TOPICS TO BE COVERED
1.) History of Photography
2. ) The Camera
3. ) Operating the Camera
4. ) Exposing Film
5. ) Developing Film
6. ) Working in the Darkroom - Printmaking
7.) Shooting for Composition
8.) Creativity & Awareness
9.) Visual Expression & Conceptual Issues
10.) Working in the Darkroom - More About Printmaking
11.) Dry Mounting Prints and Other Matting Techniques
12.) Alternative Printing Processes such as: Non-silver printing (cyan-o-type) and new
technologies (digital darkroom).
13.) Many Demos in areas such as: Toning, Hand coloring, Solarization etc.
MATERIALS LIST REQUIRED FOR INTRO-ART PHOTOGRAPHY
1.) Manual 35mm camera ideally with a variety of lenses i.e. wide angle (28mm),
telephoto (135mm), & normal lens (50mm)
2.) Film -
Ilford PAN F 50 ASA 36 exposrue
Ilford Delta 125 ASA 36 exposure
Ilford HP5 400 ASA 12, 24, & 36 exposure.
3.) Print Paper -
Ilford Multigrade IV RC Paper, Pearl finish size 8x10, amount 25 sheets (Note: you
will use several packs of this paper (25 sheets each) therefore, you may consider
buying this paper in a 100 sheet box. It is a little less expensive and saves you time
from running back and forth to the camera store.
Ilford Fiber Based Paper, matte finish size 11x14 10 sheets
4.) Negative selves - at least 10 sheets to start with.
5.) Dry mounting tissue at least one 8x10 sheet for RC paper.
6.) Negative Brush.
7.) A tripod is highly recommended, but not mandatory.
8.) Access to a computer with a photoshop program.
9.) As the semester unfolds you may wish to purchase additional supplies after seeing
class demos.
Note: Any student with special needs or considerations is encouraged to speak with the instructor in order to facilitate their circumstances.
Expected cost for each student enrolled in this class varies depending upon the student, amount of work, and interest of different materials. Minimum cost for each student, minus the cost of the camera, could be in the neighborhood of $100. - $200.
ASSESSMENT
Photography projects and accompanying self-critiques are due at the beginning of each and every critique. No project will be accepted without the reflective write at the time it is due. Reflective writes are to be typewritten! Late projects will be graded no higher than a C. The later the project is turned in the lower your chances are of obtaining a C grade. The grading of photographic projects will be based upon technical achievement, creative, thoughtful, and original expression. The grading of all other assignments will be discussed prior to their commencement
NOTE: Consistent participation and being prepared to work every class session is absolutely necessary to the successful completion of this class (refer to enclosed handout regarding attendance procedures). Roll will be taken in the first ten minutes of class. Coming to class without new negatives to develop/print will mean having little to do during lab time. This can be a major problem because class time is to be sent in class not out shooting your film that is to be done for homework! Expect to devote at least six hours per week, every week outside of class, shooting film for your projects. To do well in this class students should be self-motivated, honestly interested in creating meaningful artwork and on time with their assignments. The only trouble students occasionally have in this course begins with the false assumption it can be placed on the "back-burner" of one's semester course-load. This should be an interesting and enjoyable class but it will most likely not be an "easy" class!
Note: If for some unforeseen circumstances, a change in course material, assignments, or points for assignments occur, advanced notice will be given to the class.
GRADING PROFILE
The following is a % breakdown of the value each different requirement weighs when figuring your final grade for this course.
Class participation/attendance = 20%
Photography Projects & Portfolio = 50%
Other assignments, tests, & critique = 30%
GRADE DEFINITION (RUBRICS)
(A) SUPERIOR
The student's work clearly illustrates a mastery of basic photography skills (camera use, film exposure & development), techniques, materials, & formal qualities (principles & elements of design) of composition. The content of the artwork goes well beyond the assignment, and is innovative or evokes questions, or new interpretations. The student is always on time, prepared to work, no missing assignments and does not miss class.
(B) STRONG
The student's work shows a very good understanding of basic photography skills, and the assignment as stated or implied, and employs the most appropriate photo techniques, materials, tools, and art elements and principles of design. The work displays fine craftsmanship and is well reasoned, insightful and includes appropriate visual imagery to support or amplify the point of view. The student is always on time, prepared to work, no missing assignments and rarely misses class.
(C) ADEQUATE
The student's work shows understanding of basic photography skills, and assignment as stated or implied and a general understanding of the appropriate use of techniques, materials, tools, and art elements and principles of design, craftsmanship or point of view. The student is prepared to work, no missing assignments and seldom is late or misses class.
(D) INADEQUATE
The student's work shows incomplete understanding of basic photography skills, and assignment as stated or implied and demonstrates inappropriate use of techniques, materials, tools, and art elements and principles of design. The work displays poor craftsmanship or is incomplete and odes not have enough visual imagery to support point of view. The student is often not prepared to work, missing assignments, occasionally is late to class and absences are excessive.
(F) UNACCEPTABLE
The student's work does not demonstrate understanding of basic photography skills, and the assignment. The work does not contain enough visual evidence to evaluate understanding of techniques, materials, tools, art elements and principles of design, craftsmanship or point of view. The student is frequently not prepared to work, missing assignments, often late to class and class absences are extreme.
People & Curriculum in Art Education
Nancy Meyer
ART 91: Introduction of Art Photography
ART 91: Introduction of Art Photography
ART 207: Development of Children's Art
Michael Simmons
Art 208: Development of Adolescent Art
Masami Toku
Cultural Symposium "The Re-imaging Traditions of Art Education and Educational Reform in Japan" by Masami Toku
The Role of Art Education as an Independent vs. an Integrated Subject:
Facing the Crisis of Art Education in Japan
Masami Toku, Ed.D.
California State University, Chico
Introduction
In responding to social needs, the role of art education in schools has gradually been changing. We believe that art education encourages and supports children to foster their creativity and humanity through their works of art, which contribute to society. The value of art education in the US and Japan are almost the same, which is that learning art in schools is very important for children to help their mental growth. However, there are some differences between the US and Japan in both the structure and the administration of these programs.
Dr. Okazaki explained the historical background and the characteristics of art education in Japan. Dr. Ishizaki mentioned the role of art education in integrated studies with the reform of educational system in Japan. Prof. Watanabe introduced his idea of "What is art" based on his experiences as a guest scholar in foreign countries.
Based on my teaching experiences both in Japan and the US since 1989, I would like to explain the differences and similarities of the role of art education between Japan and the US in conjunction with the trend issue of “integration.” The following 4 categories will be discussed. (*See transparency/slide 1).
1) The role of art education: Independent vs. Integrated subject
2) Differences and Similarities of Art Education as an Integrated subject between Japan and the US
3) The possibilities of art education under “the period of integrated studies” in Japan
4) Conclusion: Art education as an independent and/or an integrated subject
The role of art education: Independent vs. Integrated subject
There are many ideas of what the goals of art education should be in order to respond to social needs depending on each country and even each period in each country. There are two possibilities for the role of art education in general. One is assuming that art is something special which has a role different from other subjects as an independent subject. Another is to assume that there is art in all subjects and art can be integrated with other subjects as an interrelated/integrated subject. The first idea is typical of traditional art education in Japan. The second idea is close to the recent issues of art education in the US.
In Japan, the role of art education has been thought to encourage the development of students’ rich sensibilities through making art in order to have a spiritually wonderful life in the future in a way which other subjects cannot do. Therefore, the Fundamental Law of Education, which was enacted in 1947, required “fine arts” as one of the required subjects in compulsory education from 1st through 9th grades. Since then the status of fine arts as one of the most important required courses has not changed.
Despite this policy of the last fifty years, the status of art education as one of the required courses is beingthreaten with the movement of reforming general education (K-higher education) in 2002 & 2003. The purpose of the educational reform stated as:
"Ensuring that children, who will be responsible for the future, are able to grow up with robust health in a heart-enriching environment serves as the basis for laying the foundations for the 21st century. Furthermore, in order to develop Japan as a vibrant nation and work toward the objective of establishing Japan as a nation based on creativity of science and technology and a nation founded on culture, it is indispensable to perpetually work to advance reform in education, which forms the cornerstone of all social systems." (Monbusho, 1999)
There are two major changes in this educational reform. One is to redevelop each curriculum in responding to the transition from the comprehensive five and a half-day (Monday through Saturday) to five-day school week (Monday through Friday). The other is that there is a new academic subject of integrated studies in addition to the previous academic subjects. As Dr. Okazaki already mentioned, this integrated studies subject includes interdisciplinary and comprehensive studies such as international understanding, information, environment, welfare and health. Also, the content totally depends on each school unlike other academic subjects in the national curriculum. Therefore, this educational reform is called "the period of integrated studies." (*See transparency/slide 2)
Also, as Dr. Isizaki mentioned previously, these major two changes threaten the status of art education as one of the required courses. The reduced time schedule might cause the diminishment not only of class hours of art education, but also the individuality as the subject of fine arts.
It has been questioned whether art as an independent subject should rank among the most important subjects in general education. Art educators in Japan are being asked to rethink the role of art education. What is the role of art education in integrated studies? What can art education contribute to integrated studies in collaborating with other academic subjects? Finally, should the role of art education be as either an independent or an integrated subject?
Differences and Similarities of Integrated Art Education between Japan and the US
The issue of “Integration” in art education is very trendy both in Japan and the US. However, the meaning of and the approach toward “Integration” are slightly different in reflecting the cultural/social background of both countries.
One the one hand, the origin of the issue of “Integration” might go back to the 1960s with the sixties discipline-centered reform in the US. The value of art education was diminished and educational reform emphasized math, science, and foreign language. The art educators in the US were forced to reconsider the new role of art education to redevelop its value. As a result, the major art educational curriculum of discipline-based art education (DBAE) was born. The main characteristic of DBAE is the integration of the four principles of “Art History,” “Art-making,” “Aesthetics,” and “Criticism” in art educational curricula. This idea expanded to integration within Art, which means the integration of visual and performing arts - art dance, music, and theater. At the same time, DBAE encourages art teachers to integrate art with other academic subjects based on the belief that there is art all in academic subjects in schools. The concept of DBAE spread throughout the nation and became popular during 1980s. Art is seen a great communicative tool to develop problem solving skills with visual thinking ability. (See transparency/slide 3)
On the other hand, integrated studies in Japan does not always means either art integrates with other academic subjects or art can have a leadership role to integrate other subjects.
In brief, it might be possible to say that the main difference in integrated study between the US and Japan is that the integration of art education in the US means simply “education through art,” while in Japan it means “art within education.” This is the reason Japanese art educators fear the diminishing of the value of art education and losing their own identities as art specialists in schools.
Another question arises. Is this really a crisis for art educators in Japan? The answer is "No." This is a great chance for Japanese art educators to rethink the role of art education. It might be true that classroom teachers and art teachers have not considered of art education due to the system of the national curriculum and the national textbook in Japan. Thanks to the educational system in Japan, it might be true that art educators have been following the national curriculum as a required course without developing it by themselves. Again, I believe that this is an opportunity to reconsider what art education contributes to the development of children's communicative and problem solving skills.
The possibilities of art education under “the period of integrated studies” in Japan (How can art education integrate with academic subjects in education?)
There are at least two things we can do to make all teachers realize how art is important and helpful in teaching other academic subjects in education.
One is a collaboration with classroom teachers of elementary grades to demonstrate the value of art as a communicative teaching tool, how art is a wonderful visual tool in teaching other subjects. For example, an art education lab course for education majors should be designed to teach not only the basic techniques of art-making and the knowledge of materials, but also the development of a curriculum where visual information is utilized to teach complicated subjects. Most children are visual learners rather than aural learners. If teachers can use visual information properly to teach a particular subject, students will learn more easily than with a simple lecture.
There should also be a collaboration with museums and communities to emphasize the value of visual thinking strategy through art. Visual thinking strategy (VTS) is designed for use by classroom teachers with little or no art training to support the development of children’s visual thinking abilities. Children are encouraged to practice how to look at and discuss art under the instruction of classroom teachers. Through careful looking and facilitated group discussion of art, children can develop critical and creative thinking skills as well as logical argumentation during facilitated discussions. These problem-solving skills are important for dealing with new and complex information in many different subject areas. (*See transparency/slide 4)
Conclusion: Art education as an independent and/or an integrated subject
Depending on the background and social context of each country, the purpose and method of art education will differ. Just as Japan has a national curriculum, the U.S. has diverse art educational curricula. In spite of the ideal that each art educational program holds, the circumstances of art education are variable, so art tends to be underestimated compared to other subjects.
The role of art education does not have to be either one or the other since art education can fulfill both roles. Whether the role of art education should be as an independent subject or an interrelated subject must be reflected by the situation of art education in the society in each country. Therefore, the issue should be how art education can clearly define its role, since it tends to be too abstract to persuade the public of its importance compared to other subjects. Before this presentation, Dr. Okazaki, Dr. Ishizaki, and Prof. Watanbe have already mentioned the same thing based on their research. Then how can the role of art education be defined as an independent and also an interrelated/integrated subject?
In summary, art education is an independent subject with the purpose of finding and developing one’s identity. By creating artwork and understanding different art, one can appreciate the values of diverse cultures. It is indispensable for one to find one’s own identity to live in this world. Those who know themselves can solve problem, which they will face in the future. Art education might not be able to define a single concrete value; however, art education can make us realize how art is meaningful to our everyday lives and help to find one’s identity.
In spite of the fact that no art educator would doubt that there is art in all subjects and art is related to all subjects, how many people think this way? Even classroom teachers in elementary schools do not realize that is art in all subjects, although they use visual information as a tool to teach those subjects. As an integrated subject, art education should emphasize that art can integrate with academic subjects. Many children are visual learners. By using visuals in conjunction with each subject, children's academic skills effectively develop (reading, writing, and thinking skills). These skills are called visual thinking skills.
In conclusion, through my experiences as an art teacher, classroom teacher, museum educator, and also an art student in the US and Japan, I strongly feel that art is the most important subject to think about myself, where I am from and where I am going. I have found that art cannot exist by itself, but rather is always related to other things. My philosophy of art is that art is a window to look at other cultures, to understand other values, and finally to find one’s identity. I am also one who survives in this unfamiliar country (the US) through art, since my artwork allows me to communicate with people. Even though this world is unconsciously filled with much bias, unfairness, and discrimination, art will tell us how to live in this world, since we can find our identity through art.
Facing the Crisis of Art Education in Japan
Masami Toku, Ed.D.
California State University, Chico
Introduction
In responding to social needs, the role of art education in schools has gradually been changing. We believe that art education encourages and supports children to foster their creativity and humanity through their works of art, which contribute to society. The value of art education in the US and Japan are almost the same, which is that learning art in schools is very important for children to help their mental growth. However, there are some differences between the US and Japan in both the structure and the administration of these programs.
Dr. Okazaki explained the historical background and the characteristics of art education in Japan. Dr. Ishizaki mentioned the role of art education in integrated studies with the reform of educational system in Japan. Prof. Watanabe introduced his idea of "What is art" based on his experiences as a guest scholar in foreign countries.
Based on my teaching experiences both in Japan and the US since 1989, I would like to explain the differences and similarities of the role of art education between Japan and the US in conjunction with the trend issue of “integration.” The following 4 categories will be discussed. (*See transparency/slide 1).
1) The role of art education: Independent vs. Integrated subject
2) Differences and Similarities of Art Education as an Integrated subject between Japan and the US
3) The possibilities of art education under “the period of integrated studies” in Japan
4) Conclusion: Art education as an independent and/or an integrated subject
The role of art education: Independent vs. Integrated subject
There are many ideas of what the goals of art education should be in order to respond to social needs depending on each country and even each period in each country. There are two possibilities for the role of art education in general. One is assuming that art is something special which has a role different from other subjects as an independent subject. Another is to assume that there is art in all subjects and art can be integrated with other subjects as an interrelated/integrated subject. The first idea is typical of traditional art education in Japan. The second idea is close to the recent issues of art education in the US.
In Japan, the role of art education has been thought to encourage the development of students’ rich sensibilities through making art in order to have a spiritually wonderful life in the future in a way which other subjects cannot do. Therefore, the Fundamental Law of Education, which was enacted in 1947, required “fine arts” as one of the required subjects in compulsory education from 1st through 9th grades. Since then the status of fine arts as one of the most important required courses has not changed.
Despite this policy of the last fifty years, the status of art education as one of the required courses is beingthreaten with the movement of reforming general education (K-higher education) in 2002 & 2003. The purpose of the educational reform stated as:
"Ensuring that children, who will be responsible for the future, are able to grow up with robust health in a heart-enriching environment serves as the basis for laying the foundations for the 21st century. Furthermore, in order to develop Japan as a vibrant nation and work toward the objective of establishing Japan as a nation based on creativity of science and technology and a nation founded on culture, it is indispensable to perpetually work to advance reform in education, which forms the cornerstone of all social systems." (Monbusho, 1999)
There are two major changes in this educational reform. One is to redevelop each curriculum in responding to the transition from the comprehensive five and a half-day (Monday through Saturday) to five-day school week (Monday through Friday). The other is that there is a new academic subject of integrated studies in addition to the previous academic subjects. As Dr. Okazaki already mentioned, this integrated studies subject includes interdisciplinary and comprehensive studies such as international understanding, information, environment, welfare and health. Also, the content totally depends on each school unlike other academic subjects in the national curriculum. Therefore, this educational reform is called "the period of integrated studies." (*See transparency/slide 2)
Also, as Dr. Isizaki mentioned previously, these major two changes threaten the status of art education as one of the required courses. The reduced time schedule might cause the diminishment not only of class hours of art education, but also the individuality as the subject of fine arts.
It has been questioned whether art as an independent subject should rank among the most important subjects in general education. Art educators in Japan are being asked to rethink the role of art education. What is the role of art education in integrated studies? What can art education contribute to integrated studies in collaborating with other academic subjects? Finally, should the role of art education be as either an independent or an integrated subject?
Differences and Similarities of Integrated Art Education between Japan and the US
The issue of “Integration” in art education is very trendy both in Japan and the US. However, the meaning of and the approach toward “Integration” are slightly different in reflecting the cultural/social background of both countries.
One the one hand, the origin of the issue of “Integration” might go back to the 1960s with the sixties discipline-centered reform in the US. The value of art education was diminished and educational reform emphasized math, science, and foreign language. The art educators in the US were forced to reconsider the new role of art education to redevelop its value. As a result, the major art educational curriculum of discipline-based art education (DBAE) was born. The main characteristic of DBAE is the integration of the four principles of “Art History,” “Art-making,” “Aesthetics,” and “Criticism” in art educational curricula. This idea expanded to integration within Art, which means the integration of visual and performing arts - art dance, music, and theater. At the same time, DBAE encourages art teachers to integrate art with other academic subjects based on the belief that there is art all in academic subjects in schools. The concept of DBAE spread throughout the nation and became popular during 1980s. Art is seen a great communicative tool to develop problem solving skills with visual thinking ability. (See transparency/slide 3)
On the other hand, integrated studies in Japan does not always means either art integrates with other academic subjects or art can have a leadership role to integrate other subjects.
In brief, it might be possible to say that the main difference in integrated study between the US and Japan is that the integration of art education in the US means simply “education through art,” while in Japan it means “art within education.” This is the reason Japanese art educators fear the diminishing of the value of art education and losing their own identities as art specialists in schools.
Another question arises. Is this really a crisis for art educators in Japan? The answer is "No." This is a great chance for Japanese art educators to rethink the role of art education. It might be true that classroom teachers and art teachers have not considered of art education due to the system of the national curriculum and the national textbook in Japan. Thanks to the educational system in Japan, it might be true that art educators have been following the national curriculum as a required course without developing it by themselves. Again, I believe that this is an opportunity to reconsider what art education contributes to the development of children's communicative and problem solving skills.
The possibilities of art education under “the period of integrated studies” in Japan (How can art education integrate with academic subjects in education?)
There are at least two things we can do to make all teachers realize how art is important and helpful in teaching other academic subjects in education.
One is a collaboration with classroom teachers of elementary grades to demonstrate the value of art as a communicative teaching tool, how art is a wonderful visual tool in teaching other subjects. For example, an art education lab course for education majors should be designed to teach not only the basic techniques of art-making and the knowledge of materials, but also the development of a curriculum where visual information is utilized to teach complicated subjects. Most children are visual learners rather than aural learners. If teachers can use visual information properly to teach a particular subject, students will learn more easily than with a simple lecture.
There should also be a collaboration with museums and communities to emphasize the value of visual thinking strategy through art. Visual thinking strategy (VTS) is designed for use by classroom teachers with little or no art training to support the development of children’s visual thinking abilities. Children are encouraged to practice how to look at and discuss art under the instruction of classroom teachers. Through careful looking and facilitated group discussion of art, children can develop critical and creative thinking skills as well as logical argumentation during facilitated discussions. These problem-solving skills are important for dealing with new and complex information in many different subject areas. (*See transparency/slide 4)
Conclusion: Art education as an independent and/or an integrated subject
Depending on the background and social context of each country, the purpose and method of art education will differ. Just as Japan has a national curriculum, the U.S. has diverse art educational curricula. In spite of the ideal that each art educational program holds, the circumstances of art education are variable, so art tends to be underestimated compared to other subjects.
The role of art education does not have to be either one or the other since art education can fulfill both roles. Whether the role of art education should be as an independent subject or an interrelated subject must be reflected by the situation of art education in the society in each country. Therefore, the issue should be how art education can clearly define its role, since it tends to be too abstract to persuade the public of its importance compared to other subjects. Before this presentation, Dr. Okazaki, Dr. Ishizaki, and Prof. Watanbe have already mentioned the same thing based on their research. Then how can the role of art education be defined as an independent and also an interrelated/integrated subject?
In summary, art education is an independent subject with the purpose of finding and developing one’s identity. By creating artwork and understanding different art, one can appreciate the values of diverse cultures. It is indispensable for one to find one’s own identity to live in this world. Those who know themselves can solve problem, which they will face in the future. Art education might not be able to define a single concrete value; however, art education can make us realize how art is meaningful to our everyday lives and help to find one’s identity.
In spite of the fact that no art educator would doubt that there is art in all subjects and art is related to all subjects, how many people think this way? Even classroom teachers in elementary schools do not realize that is art in all subjects, although they use visual information as a tool to teach those subjects. As an integrated subject, art education should emphasize that art can integrate with academic subjects. Many children are visual learners. By using visuals in conjunction with each subject, children's academic skills effectively develop (reading, writing, and thinking skills). These skills are called visual thinking skills.
In conclusion, through my experiences as an art teacher, classroom teacher, museum educator, and also an art student in the US and Japan, I strongly feel that art is the most important subject to think about myself, where I am from and where I am going. I have found that art cannot exist by itself, but rather is always related to other things. My philosophy of art is that art is a window to look at other cultures, to understand other values, and finally to find one’s identity. I am also one who survives in this unfamiliar country (the US) through art, since my artwork allows me to communicate with people. Even though this world is unconsciously filled with much bias, unfairness, and discrimination, art will tell us how to live in this world, since we can find our identity through art.
Re-imagining traditions of art education and educational reform in Japan by Dr. Wenchun WANG / Considering the extent of the approach of art appreciat
Re-imagining traditions of art education and educational reform in Japan
Wenchun WANG
June 30
We will discuss the current problems of Japanese art education. First we would like to explain the concept of the seminar. Japanese society has been undergoing a drastic change. We have seen declining birth rates, the aging of the population, computerization and globalization. In order to respond to these changes, various reforms are underway and an educational reform is one of them. In the latest educational reform, the Period of Integrated Study was newly established for the participation of all teachers. On the other hand, the numbers of classes in fine arts were reduced in the curricula of elementary and junior high schools in April 2002. Our concern is how art teachers can work on Integrated Study actively, and what kind of approach of art education can be made for the problem of Integrated Study.
In Japan, we have had various discussions about a relation between Integrated Study and fine arts but there are two problems. One is our concern that originality as the subject of fine arts may be diminished. The meaning of the subject may be questioned if a philosophy, which fine arts and Integrated Study share, is emphasized. The other problem is the uncertainty of art teachers' involvement with Integrated Study because individual schools and teachers are entrusted with classes in Integrated Study. In this seminar, we are aware that our study on the relation between Integrated Study and fine arts is a key to the regeneration of Japanese art education. We will discuss matters related to "re-imagining traditions" which is one of the themes of this InSEA
Congress. In this seminar, we have four viewpoints.
The first viewpoint is an individual role in the subject of fine arts in school.
We need to clarify the characteristics of fine arts in school in order to discuss the problems of art education in Japan. In other
words, in the seminar, we would like to clarify what kind of role and outcome of fine arts in elementary and junior high schools had before we discuss what kind of role art education can play in Integrated Study.
The second viewpoint is the extent of the approach of art education in Integrated Study.
As new issues in the educational reform, there are topics such as information, welfare, international understanding, the environment and human rights. It is important to study the educational values of fine arts in relation to these topics. If a theoretical base, which expands the content of art education, is clear, art education can play a part in Integrated Study. Integrated Study may expand the content of art education.
The third viewpoint is a relation between artists' experiences and Integrated Study.
Today artists' interest varies in a wide range and the possibilities of media also widen along with technological reforms. So we have seen new types of arts. Because contemporary arts transcend the conventional framework of art education, it is important to take advantage of what is transcended for Integrated Study as much as possible. In order to handle the problem, it is necessary to redefine or interpret arts from the standpoint of artists.
In addition, we will also discuss Integrated Study in Japan from a global viewpoint. In short, we will discuss the cases of Japan and the U.S. from the viewpoint of the comparison of the culture so as to take an objective view of the approach of art education in Integrated Study in Japan.
Considering the extent of the approach of art appreciation in Integrated Study
Kazuhiro ISHIZAKI
June 30
I will discuss the second viewpoint which is presented in this seminar. The second viewpoint is the extent of the approach of art
education in Integrated Study.
In order to consider this viewpoint, it is necessary to clarify the extent of the approach of art education in Integrated Study. After analyzing what fine arts can not offer presently, I have figured out what should be compensated for should be the extent of the approach of art education for Integrated Study.
The number of classes in fine arts has been reduced and we have been in a difficult situation. Under the circumstances, we should avoid the situation where fine arts take more responsibility than they really can. I think, we should analyze the outcome, which fine arts can bring about now, and problems caused by what can not be offered by fine arts. Then, I would like to consider and propose the possibility of compensating developmentally through Integrated Study. In order to consider
specifically, I will limit our analysis to the realm of art appreciation. In other words, I will analyze what is missing from art
appreciation education now and consider what is required of the approach of art education in the Period of Integrated Study.
In order to analyze what is missing from art appreciation now, I will use the result of our comparative survey concerning aesthetic development which has been published in the journal, Studies in Art Education's summer issue. In this survey, we used a questionnaire called "Art Appreciation Profile", which is also called AAP. The AAP was administered from third graders to adults in Japan and the U.S. The AAP was prepared based on the Parsons's developmental stage theory. Our analysis of the survey indicated that Japanese students were characterized by a strong inclination toward expressiveness and formal elements.
As seen in Figure 1, one of the Japanese developmental characteristics is the predominance of the stage three for older people.
It is suggested that there is a strong inclination toward expressiveness as they grow older. This characteristic is considerably significant in comparison with the developmental characteristics of the U.S. students as shown in Figure 2. In the case of the Japanese, the percentage of the stage three increases rapidly from ninth graders. In particular, the percentage of the stage three shows 70% or more for adults. On the other hand, the percentage of the stage three does not clearly show developmental changes among Americans.
In the case of the U.S., the percentage of the stage four increases among adults. In particular, as shown in Figure 3, the percentage of the stage four among art education majors in college is significantly high and the percentage of the stage three is extremely low. On the other hand, the percentage of the stage four among art education majors in Japan is lower than the U.S. non-art education majors. In addition, the percentage of the stage three among art education majors in Japan is higher than the U.S. non-art education majors. This result shows a high percentage of the stage three even among art education majors in Japan. In short, the Japanese characteristic of aesthetic development related to art appreciation is a strong inclination toward expressiveness which is characteristic of the stage three.
We will not go into detail here now but I would like to mention that our survey shows that another characteristic was a keen interest in formal elements.
What does the predominance of the developmental stage three indicate as seen in the Japanese cases? According to Parsons, expressions are important topics for those who appreciate art in the stage three and paintings are considered as the expressions of one's feelings so the originality of expressions is considered very important. Their interpretations and judgments are emotional with an emphasis on their feelings but they are not sure of their interpretations. They do not
necessarily seek conformity with each other's ideas. On the other hand, the characteristic of the stage four is appreciation with an emphasis on medium, form and style. Their interpretations are modified in artistic contexts such as art history, culture and tradition, and the interpretations of paintings are socially attained in "a community of viewers."
The Japanese characteristic of a strong inclination toward the stage three is considered as one of the outcome of art appreciation education in Japan. Concerning this respect, Efland pointed that modernists in art education think formal elements for the bases of studio production and art appreciation important as well as originality and self expressions. It is considered that art appreciation education in Japan typically reflects the legacy of Modernism.
On the other hand, in art appreciation education in Japan, skill in finding out pictorial contexts objectively and awareness of "a community of viewers" seem to be slighted. These are what current art appreciation education can not offer and we consider them as its problems. I think that the significance of the approach of art education in Integrated Study lies in transcending the limitation of Modernism in art education in Japan. For that reason, it is necessary to find out artistic contexts from a wide range of issues concerning actual society and culture, and talk individual interpretations with many other people. Efland proposed curricula that emphasized a relation between fine arts and culture, acceptance of cultural conflict, and multiple interpretations as Post-modernism in art education. It is integrated curriculum which is also seen in the purposes of Integrated Study and the style of learning in Japan. Considering the present situation where the number of hours for curricula has reduced, it is
necessary to clarify the roles of fine arts classes in the continuous acquisition of the outcome of Modernism in Japan in the future as a basic skill. On the other hand, as far as Integrated Study is concerned, it is necessary to give shape to the role of promoting the interpretation of meanings from various viewpoints as the post-modern approach of art education.
Then, how do we image the post-modern approach of art education in Integrated Study in Japan?
For instance, when "community" is selected as a theme in Integrated Study, students will have various viewpoints such as social systems, culture, languages, customs and ideas. At school, subjects have been subdivided and defined such as social studies, Japanese, fine arts and music. However, in Integrated Study, because community can be considered by each student on an individual level, there are a wide variety of ways for having awareness and finding out meanings.
In the case of my college student, he was a member of a group playing local music for folk entertainment. He was interested in
traditional local music and musical instruments. For many years, performers have been making their own flutes with shinodake which is local bamboo. But he noticed that the bamboo was not available locally and started looking for shinodake. Finally, he not only analyzed the beauty of shinodake flute such as its shape, ornament and tone, but he also started investigating the history and environment of the community. His quest did not end with his interest in formal elements because he became aware of various contexts related to the folk flute. For instance, he questioned why folk entertainment is not handed down to
present young people, and why the materials of the flute, shinodake have disappeared from the region now though they used to be abundant. He developed many essential questions related to community.
As an example in conjunction with Integrated Study at elementary school, there was an art project called "Kemigawa Transmitting Station 2000". In the project, artistic actions and discussions were promoted for the transmitting station which lied in ruins in the area. Local schools and residents were involved with the project. Based on their experience in a workshop for contemporary art, individuals materialized what they thought as an individual "little narrative" through art. We consider the process as an attempt to materialize the viewpoint of the appreciation of Post-modernism basically.
In Integrated Study in Japan, various themes related to our society such as information, welfare, international understanding, the
environment and human rights are developed. Like this, in Integrated Study, which aims to develop awareness of our society and culture and to solve their problems, it is significant to promote the post-modern approach of art education in order to regenerate art education in Japan.
Wenchun WANG
June 30
We will discuss the current problems of Japanese art education. First we would like to explain the concept of the seminar. Japanese society has been undergoing a drastic change. We have seen declining birth rates, the aging of the population, computerization and globalization. In order to respond to these changes, various reforms are underway and an educational reform is one of them. In the latest educational reform, the Period of Integrated Study was newly established for the participation of all teachers. On the other hand, the numbers of classes in fine arts were reduced in the curricula of elementary and junior high schools in April 2002. Our concern is how art teachers can work on Integrated Study actively, and what kind of approach of art education can be made for the problem of Integrated Study.
In Japan, we have had various discussions about a relation between Integrated Study and fine arts but there are two problems. One is our concern that originality as the subject of fine arts may be diminished. The meaning of the subject may be questioned if a philosophy, which fine arts and Integrated Study share, is emphasized. The other problem is the uncertainty of art teachers' involvement with Integrated Study because individual schools and teachers are entrusted with classes in Integrated Study. In this seminar, we are aware that our study on the relation between Integrated Study and fine arts is a key to the regeneration of Japanese art education. We will discuss matters related to "re-imagining traditions" which is one of the themes of this InSEA
Congress. In this seminar, we have four viewpoints.
The first viewpoint is an individual role in the subject of fine arts in school.
We need to clarify the characteristics of fine arts in school in order to discuss the problems of art education in Japan. In other
words, in the seminar, we would like to clarify what kind of role and outcome of fine arts in elementary and junior high schools had before we discuss what kind of role art education can play in Integrated Study.
The second viewpoint is the extent of the approach of art education in Integrated Study.
As new issues in the educational reform, there are topics such as information, welfare, international understanding, the environment and human rights. It is important to study the educational values of fine arts in relation to these topics. If a theoretical base, which expands the content of art education, is clear, art education can play a part in Integrated Study. Integrated Study may expand the content of art education.
The third viewpoint is a relation between artists' experiences and Integrated Study.
Today artists' interest varies in a wide range and the possibilities of media also widen along with technological reforms. So we have seen new types of arts. Because contemporary arts transcend the conventional framework of art education, it is important to take advantage of what is transcended for Integrated Study as much as possible. In order to handle the problem, it is necessary to redefine or interpret arts from the standpoint of artists.
In addition, we will also discuss Integrated Study in Japan from a global viewpoint. In short, we will discuss the cases of Japan and the U.S. from the viewpoint of the comparison of the culture so as to take an objective view of the approach of art education in Integrated Study in Japan.
Considering the extent of the approach of art appreciation in Integrated Study
Kazuhiro ISHIZAKI
June 30
I will discuss the second viewpoint which is presented in this seminar. The second viewpoint is the extent of the approach of art
education in Integrated Study.
In order to consider this viewpoint, it is necessary to clarify the extent of the approach of art education in Integrated Study. After analyzing what fine arts can not offer presently, I have figured out what should be compensated for should be the extent of the approach of art education for Integrated Study.
The number of classes in fine arts has been reduced and we have been in a difficult situation. Under the circumstances, we should avoid the situation where fine arts take more responsibility than they really can. I think, we should analyze the outcome, which fine arts can bring about now, and problems caused by what can not be offered by fine arts. Then, I would like to consider and propose the possibility of compensating developmentally through Integrated Study. In order to consider
specifically, I will limit our analysis to the realm of art appreciation. In other words, I will analyze what is missing from art
appreciation education now and consider what is required of the approach of art education in the Period of Integrated Study.
In order to analyze what is missing from art appreciation now, I will use the result of our comparative survey concerning aesthetic development which has been published in the journal, Studies in Art Education's summer issue. In this survey, we used a questionnaire called "Art Appreciation Profile", which is also called AAP. The AAP was administered from third graders to adults in Japan and the U.S. The AAP was prepared based on the Parsons's developmental stage theory. Our analysis of the survey indicated that Japanese students were characterized by a strong inclination toward expressiveness and formal elements.
As seen in Figure 1, one of the Japanese developmental characteristics is the predominance of the stage three for older people.
It is suggested that there is a strong inclination toward expressiveness as they grow older. This characteristic is considerably significant in comparison with the developmental characteristics of the U.S. students as shown in Figure 2. In the case of the Japanese, the percentage of the stage three increases rapidly from ninth graders. In particular, the percentage of the stage three shows 70% or more for adults. On the other hand, the percentage of the stage three does not clearly show developmental changes among Americans.
In the case of the U.S., the percentage of the stage four increases among adults. In particular, as shown in Figure 3, the percentage of the stage four among art education majors in college is significantly high and the percentage of the stage three is extremely low. On the other hand, the percentage of the stage four among art education majors in Japan is lower than the U.S. non-art education majors. In addition, the percentage of the stage three among art education majors in Japan is higher than the U.S. non-art education majors. This result shows a high percentage of the stage three even among art education majors in Japan. In short, the Japanese characteristic of aesthetic development related to art appreciation is a strong inclination toward expressiveness which is characteristic of the stage three.
We will not go into detail here now but I would like to mention that our survey shows that another characteristic was a keen interest in formal elements.
What does the predominance of the developmental stage three indicate as seen in the Japanese cases? According to Parsons, expressions are important topics for those who appreciate art in the stage three and paintings are considered as the expressions of one's feelings so the originality of expressions is considered very important. Their interpretations and judgments are emotional with an emphasis on their feelings but they are not sure of their interpretations. They do not
necessarily seek conformity with each other's ideas. On the other hand, the characteristic of the stage four is appreciation with an emphasis on medium, form and style. Their interpretations are modified in artistic contexts such as art history, culture and tradition, and the interpretations of paintings are socially attained in "a community of viewers."
The Japanese characteristic of a strong inclination toward the stage three is considered as one of the outcome of art appreciation education in Japan. Concerning this respect, Efland pointed that modernists in art education think formal elements for the bases of studio production and art appreciation important as well as originality and self expressions. It is considered that art appreciation education in Japan typically reflects the legacy of Modernism.
On the other hand, in art appreciation education in Japan, skill in finding out pictorial contexts objectively and awareness of "a community of viewers" seem to be slighted. These are what current art appreciation education can not offer and we consider them as its problems. I think that the significance of the approach of art education in Integrated Study lies in transcending the limitation of Modernism in art education in Japan. For that reason, it is necessary to find out artistic contexts from a wide range of issues concerning actual society and culture, and talk individual interpretations with many other people. Efland proposed curricula that emphasized a relation between fine arts and culture, acceptance of cultural conflict, and multiple interpretations as Post-modernism in art education. It is integrated curriculum which is also seen in the purposes of Integrated Study and the style of learning in Japan. Considering the present situation where the number of hours for curricula has reduced, it is
necessary to clarify the roles of fine arts classes in the continuous acquisition of the outcome of Modernism in Japan in the future as a basic skill. On the other hand, as far as Integrated Study is concerned, it is necessary to give shape to the role of promoting the interpretation of meanings from various viewpoints as the post-modern approach of art education.
Then, how do we image the post-modern approach of art education in Integrated Study in Japan?
For instance, when "community" is selected as a theme in Integrated Study, students will have various viewpoints such as social systems, culture, languages, customs and ideas. At school, subjects have been subdivided and defined such as social studies, Japanese, fine arts and music. However, in Integrated Study, because community can be considered by each student on an individual level, there are a wide variety of ways for having awareness and finding out meanings.
In the case of my college student, he was a member of a group playing local music for folk entertainment. He was interested in
traditional local music and musical instruments. For many years, performers have been making their own flutes with shinodake which is local bamboo. But he noticed that the bamboo was not available locally and started looking for shinodake. Finally, he not only analyzed the beauty of shinodake flute such as its shape, ornament and tone, but he also started investigating the history and environment of the community. His quest did not end with his interest in formal elements because he became aware of various contexts related to the folk flute. For instance, he questioned why folk entertainment is not handed down to
present young people, and why the materials of the flute, shinodake have disappeared from the region now though they used to be abundant. He developed many essential questions related to community.
As an example in conjunction with Integrated Study at elementary school, there was an art project called "Kemigawa Transmitting Station 2000". In the project, artistic actions and discussions were promoted for the transmitting station which lied in ruins in the area. Local schools and residents were involved with the project. Based on their experience in a workshop for contemporary art, individuals materialized what they thought as an individual "little narrative" through art. We consider the process as an attempt to materialize the viewpoint of the appreciation of Post-modernism basically.
In Integrated Study in Japan, various themes related to our society such as information, welfare, international understanding, the
environment and human rights are developed. Like this, in Integrated Study, which aims to develop awareness of our society and culture and to solve their problems, it is significant to promote the post-modern approach of art education in order to regenerate art education in Japan.
Comics in Thailand and Indonesia by Natsume, Fusanosuke
Comics in Thailand and Indonesia
By
Fusanosuke Natsume
Thai comic books can be categorised into traditional Thai comics, sold at stands for 5 baht, and comics of Japanese origin targeted at children of the new middle class. The latter are sold at bookstores and convenience stores in large cities. “Boys’ Love” type comics are now popular among schoolgirls, and this has been reported by television as a “bad Japanese influence”.
A professor at Chulalongkorn University showed interest in my work and arranged a meeting for me with Thai people who are interested in comics. At that occasion, I was interviewed by the staff of Comics Quest, a comics information magazine. They had met at a Japanese language school after graduating from college and started the magazine in June this year with a circulation of 10,000 copies. Comics Quest sells for 45 baht, nine times the price of popular Thai comics and is even more expensive than comics of Japanese origin, which sell for 35 baht.
The magazine features a top-ten ranking of comics sales, based on their own survey of bookstores around Bangkok. As it turns out, high ranking comics are all of Japanese origin. The top three are Detective Conan, GTO and BERSERK.
In short, Japanese-origin comic books are supported by the rich middle class and are distributed as part of the fashion culture of young people. Indeed, new wave Thai comics are also fashionable. Similar to the Heibon Punch in Japan in the 1960s, comics are a part of fashion or merchandise information.
I also did some investigations at Siam Square, a fashionable area like Roppongi or Aoyama around the Chulalongkorn University. In this area, comics of Japanese origin have captured the youth market. Some of the new-wave Thai comics for youth, which show heavy Japanese influence, use this local as their setting.
In Thailand, eighty per cent of sales of published books is in Bangkok. This is probably reflected in comics sales as well. Like Japan in the 1960s, there is a huge gap in income between rural areas and large cities, as a result of rapid economic growth.
Upon reading this, most Japanese may take Thai comics very lightly, saying “Oh, still at that level?” That would be a big mistake. Although I cannot go into details, some of the Thai comics are sent by e-mail and effectively processed by Macintosh. This is a convenient system for translating Japanese comics into Thai.
A concern shared by information magazine staff was that they were dependent on reprint of information obtained from the Internet without permission, but they were conducting market research more actively than the publishing companies. If you could support and help them grow, it may contribute to market development. I hope that both the Japanese side and Thai publishers may consider the matter from a long-term strategic standpoint, rather than going strictly by the rules and rejecting merely for protection of rights.
In Jakarta, there is a magazine, Animonster, providing information on comics and animation. The editors are young people in Bandung. The magazine prints information obtained from Japan via the Internet. They would like to ask for permission but don’t know how to contact the Japanese publisher. This is the same problem shared by comics information magazines in Thailand.
They have a strong curiosity for Japanese mass culture as a whole and sometimes carry historical articles, too. They are more enthusiastic about cultural exchange than publishing companies. They also carry valuable historical articles on Indonesian comic books.
Indonesian comic books were rental comic books distributed through a rental library called Taman Bacaan. They carried serial stories and had about 50 pages per issue in B6 size. Ten issues were collected together and published in book form. These comic books first appeared in the 1950s but were adversely affected by American comics and disappeared in the 1980s.
What I found interesting were the stories told by Mr. Agus, a Javanese friend of mine who runs a cottage in Bali. He has been a big fan of the Indonesian version of rental comics since childhood, and is quite a collector of them. The way he spoke so joyfully of comics, proudly displaying his collection, is similar to Japanese rental book fans. He told me that when he was a child, he befriended a rental library owner who let him read new books before they were wrapped with vinyl (as in Japan, rental books are wrapped to avoid damage).
He also talked about how he used to make a reservation for comics he wanted with a rental library and, since the address of the publisher was unknown, he would place an order with a wholesale dealer-bookstore in the town. After rental libraries folded, he hunted for old books piled under the shelves at old bookstores. This is similar to how we used to go to rental libraries and look for secondhand books in Japan.
It is interesting that many of the heroes in Indonesian comics have strange appearances; a hero who is a blind swordsman; a hero who is dumb when awake but tough in his sleep; a boy (resembling the rental book version of Kitaro) learning martial arts, who is ugly but not a villain. These characters remind me of Japanese rental comic books. The comics also had erotic scenes close to rape or violent scenes. Readers were adolescents or older, not children. This was similar to rental comics in Japan!
Rental comic books are still popular in Korea, but perished in Japan in the 1960s and in Indonesia in the 1980s. What accounts for this difference?
If comparative research is conducted on this point, comics may be studied in terms of eastern Asian culture and the enigma of the development of Japanese comics may be revealed, indicating how the revolution in expression in the 1960s rental comics led the way to the subsequent shift of Japanese comics toward young people and its diversification.
The author is an API Fellow, 2001-2002, from Japan and a well-known comics columnist. He went to Thailand and Indonesia for the research under the API Fellowships.The above is a composite and re-write of two articles which originally appeared in the Mainichi Shimbun of July 27 and August 3, 2001, after he completed his research trips to two countries.
By
Fusanosuke Natsume
Thai comic books can be categorised into traditional Thai comics, sold at stands for 5 baht, and comics of Japanese origin targeted at children of the new middle class. The latter are sold at bookstores and convenience stores in large cities. “Boys’ Love” type comics are now popular among schoolgirls, and this has been reported by television as a “bad Japanese influence”.
A professor at Chulalongkorn University showed interest in my work and arranged a meeting for me with Thai people who are interested in comics. At that occasion, I was interviewed by the staff of Comics Quest, a comics information magazine. They had met at a Japanese language school after graduating from college and started the magazine in June this year with a circulation of 10,000 copies. Comics Quest sells for 45 baht, nine times the price of popular Thai comics and is even more expensive than comics of Japanese origin, which sell for 35 baht.
The magazine features a top-ten ranking of comics sales, based on their own survey of bookstores around Bangkok. As it turns out, high ranking comics are all of Japanese origin. The top three are Detective Conan, GTO and BERSERK.
In short, Japanese-origin comic books are supported by the rich middle class and are distributed as part of the fashion culture of young people. Indeed, new wave Thai comics are also fashionable. Similar to the Heibon Punch in Japan in the 1960s, comics are a part of fashion or merchandise information.
I also did some investigations at Siam Square, a fashionable area like Roppongi or Aoyama around the Chulalongkorn University. In this area, comics of Japanese origin have captured the youth market. Some of the new-wave Thai comics for youth, which show heavy Japanese influence, use this local as their setting.
In Thailand, eighty per cent of sales of published books is in Bangkok. This is probably reflected in comics sales as well. Like Japan in the 1960s, there is a huge gap in income between rural areas and large cities, as a result of rapid economic growth.
Upon reading this, most Japanese may take Thai comics very lightly, saying “Oh, still at that level?” That would be a big mistake. Although I cannot go into details, some of the Thai comics are sent by e-mail and effectively processed by Macintosh. This is a convenient system for translating Japanese comics into Thai.
A concern shared by information magazine staff was that they were dependent on reprint of information obtained from the Internet without permission, but they were conducting market research more actively than the publishing companies. If you could support and help them grow, it may contribute to market development. I hope that both the Japanese side and Thai publishers may consider the matter from a long-term strategic standpoint, rather than going strictly by the rules and rejecting merely for protection of rights.
In Jakarta, there is a magazine, Animonster, providing information on comics and animation. The editors are young people in Bandung. The magazine prints information obtained from Japan via the Internet. They would like to ask for permission but don’t know how to contact the Japanese publisher. This is the same problem shared by comics information magazines in Thailand.
They have a strong curiosity for Japanese mass culture as a whole and sometimes carry historical articles, too. They are more enthusiastic about cultural exchange than publishing companies. They also carry valuable historical articles on Indonesian comic books.
Indonesian comic books were rental comic books distributed through a rental library called Taman Bacaan. They carried serial stories and had about 50 pages per issue in B6 size. Ten issues were collected together and published in book form. These comic books first appeared in the 1950s but were adversely affected by American comics and disappeared in the 1980s.
What I found interesting were the stories told by Mr. Agus, a Javanese friend of mine who runs a cottage in Bali. He has been a big fan of the Indonesian version of rental comics since childhood, and is quite a collector of them. The way he spoke so joyfully of comics, proudly displaying his collection, is similar to Japanese rental book fans. He told me that when he was a child, he befriended a rental library owner who let him read new books before they were wrapped with vinyl (as in Japan, rental books are wrapped to avoid damage).
He also talked about how he used to make a reservation for comics he wanted with a rental library and, since the address of the publisher was unknown, he would place an order with a wholesale dealer-bookstore in the town. After rental libraries folded, he hunted for old books piled under the shelves at old bookstores. This is similar to how we used to go to rental libraries and look for secondhand books in Japan.
It is interesting that many of the heroes in Indonesian comics have strange appearances; a hero who is a blind swordsman; a hero who is dumb when awake but tough in his sleep; a boy (resembling the rental book version of Kitaro) learning martial arts, who is ugly but not a villain. These characters remind me of Japanese rental comic books. The comics also had erotic scenes close to rape or violent scenes. Readers were adolescents or older, not children. This was similar to rental comics in Japan!
Rental comic books are still popular in Korea, but perished in Japan in the 1960s and in Indonesia in the 1980s. What accounts for this difference?
If comparative research is conducted on this point, comics may be studied in terms of eastern Asian culture and the enigma of the development of Japanese comics may be revealed, indicating how the revolution in expression in the 1960s rental comics led the way to the subsequent shift of Japanese comics toward young people and its diversification.
The author is an API Fellow, 2001-2002, from Japan and a well-known comics columnist. He went to Thailand and Indonesia for the research under the API Fellowships.The above is a composite and re-write of two articles which originally appeared in the Mainichi Shimbun of July 27 and August 3, 2001, after he completed his research trips to two countries.
The Role of Art Education as an Independent and Interrelated Subject:Facing the Crisis of Art Education in Japan
Masami Toku
California State University, Chico
Introduction
The purpose of this study is to rethink the role of art education in general education based on the crisis of art education in Japan. Can art education experiences in the US suggest new ways to confront the problems in Japan?
There are many ideas of what the goals of art education should be depending on each country and even each period in each country in order to respond to social needs. However, there are two possibilities for the role of art education in general. One is assuming that art is something special which has a role different from other subjects. Another is to assume that there is art in all subjects and art can be integrated with other subjects. The first idea is typical of art education in Japan. The second idea is close to the recent issues of art education in the US. In Japan, the role of art education is to encourage the development of students’ rich sensibilities through making art in order to have a spiritually wonderful life in the future, in a way, which other subjects cannot do. Therefore, the Fundamental Law of Education, which was enacted in 1947, required “fine arts” as one of the required subjects in compulsory education from 1st through 9th grades. Since then the status of fine arts has never changed as one of the most important required courses. Despite this policy of the last fifty years, art education is being removed from the required courses with the movement of reforming general education in 2003. The former role of art education as an independent subject is no longer persuasive that art is one of the most important subjects in general education. Art educators in Japan are being asked to rethink the role of art education. Should the role of art education be an independent or an interrelated subject? What can art education contribute to general education? By adopting the concept of DBAE in the art educational curriculum in Japan, some Japanese art educators are trying to face the changes in practice in the field of art education. Can the concept of DBAE help with the crisis in Japan?
Depending on the background and social context of each country, the purpose and method of art education will differ. Just as Japan has a national curriculum, the U.S. has diverse art educational curricula. In spite of the idealism that each art educational program holds, the circumstances of art education are not stable, so art tends to be underestimated compared to other subjects. The problems of art education and future goals will be discussed based on the crisis of art education in Japan.
Cross-cultural study of art education programs in schools: the difference between the U.S. and Japan (The Art Curriculum of Compulsory Education in Japan)
Introduction
With the development of the human life style, the concept of art education in schools has gradually been changing,. It encourages and supports children to foster their creativity and humanity through their works of art, which contribute to society, The art education in the US, and Japan is not exceptions. Although the principles toward art education in the Us and Japan are almost the same, being learning art in schools is very important for children to help their mental growth, there are some differences between the US and Japan in both the structure of these programs and in administration. My main interest is why the curriculums between the US and Japan are so different. Many reasons exist, but two critical reasons seem to influence the difference. One reason is the difference of cultural backgrounds between both countries. Another is the differences of philosophy toward art and aesthetics in both Western and Eastern societies. However, for this paper, I would like to concentrate on the first reason because most art educations are thought based on Western philosophy in present. Therefore, by comparing the similarities and differences toward art educational programs between the US and Japan based on the differences in cultural backgrounds, I would like to focus on the problems and solutions in both programs and the future directions toward art education of both countries. In addition, art education curriculums of both countries are compared based on elementry schools for referencing.
Historical background of education in Japan
Japan has experienced two major reforms in its educational system both occurring simultaneously with a major quantitative expansion, which were the Meiji restoration (1868) and World War II (1945).
In 1872, five years after the Meiji restoration, the government enacted the “Gakusei,” or Fundamental Code of Education, which introduced a primary educational system in a democratic context in Japan. The significance of this event was that it declared support for the principle of education by the new Meiji government. A code was also enacted t declare the ideal of the educational policy, “education for all people.” The main purpose of education was that the government intended to foster a strong national power through education to catch up with the western world. Unlike England or the U.S. at that time, the government had not adapted the compulsory education system although the Code recommended six years of primary education for any child regardless of sex, social status, or means. By 1886 three or four years of elementary education were made compulsory. In 1900, the length of compulsory education in elementary school was extended to four years nationwide, and the tuition-free public elementary school system was adopted by law.
In 1947, after World War II, the new Constitutions of Japan provided the Fundamental law of Education and School Law. Under these Laws, the government began reforming the old education system and developed in 6-3-3-4 structured system under the supervision of the GHQ (General Headquarter of Allied Power). In addition, compulsory education was expanded to include the lower Secondary school education (Junior high school), and the tuition-free education was also extended to the same extent in public schools.
The fundamental Law of Education required certain subjects in compulsory education. In the elementary schools (1st through 6th grades), there are nine required subjects, Japanese Language, Social Studies, Arithmetic, Science, Life Environment Studies, Music, Drawing and Handicrafts., Homemaking, and Physical Education. In the lower secondary schools, the junior high schools or the middle schools (7th through 9th grades), eight subjects are required, such as Japanese Language, Social Studies, Mathematics, Science, Music, Fine Arts, Health and physical Education, and Industrial Arts (for boys) and Homemaking (for girls).
The background of art education in Japan
In Japan, the Ministry of Education has changed totally six times (1947, 1951, 1958, 1968, 1977, and 1989) in theory and practice in the field of art education program after World War II. The first two programs, 1947 and 1951, presented a tentative curriculum in a short period under the control of general headquarters of allied forces. Although American influence appeared in the contents; these programs were based on the practical manner of how to make and create works of art rather than stressing aesthetic attitude. Fundamentally it shifted from the traditional manner of Japanese art education to those that mixed the appreciation of Japanese tradition and Western art education. The third program presented in 1958 took a stand on a “student-centered” curriculum, and focused on cultivating creative and practical attitudes through basic techniques toward art-making and viewing through works of art. The fourth change in 1968 was a “teacher-proof” curriculum. Because of reinforcement in systematic study, the content was divided into five categories; painting, sculpture, design, craft, and appreciation (critique). In 1977, the content of art education programs was drastically cut and reformed into two main concepts of “expression” and “appreciation” (included critique). The goal of this curriculum was focused on a synthetic creative-activity though works of art.
Finally, the revision in 1989 was a reform based on the concept of the 1977 curriculum with added ideas of playing and enjoying the making of works of art in addition to learning the technique of making art products. The goal of art education was to foster the basic ability of productive and creative-activity through expression, appreciation, and critiques, while at the same time fostering pleasure o expression and cultivating rich sentiments in children. Three contents fall into the categories of expression: 1) creative activity based on materials, 2) expressive activity in 2-D and 3-D, 3) productive activity about what you want. The details of the program are presented in three levels in elementary school; the lower grades (first and second grades), the middle grades (third and fourth grades), and the higher grades (fifth and sixth grades).
Through these changes in theory and practice in the field of art education in Japan, the characteristics of the art educational curriculum in Japan are nation-centered (government-centered), unlike in the US where the focus is on a district-centered curriculum. The reason must be linked to the differences of cultural backgrounds.
Teaching Philosophy of Art: How can art education integrate with academic subjects?
Why don’t some people like art, in spite of the fact that they used to love art when they were younger children? Many of them used to love and enjoy creating art on paper, with clay, and so on. Nevertheless, some of them seemingly lose their interest in art with ages. When, how, and why do they dislike art? There are at least three patterns.
First, when I asked my friends who do not like art very much why they do not like art, some of them said that they disliked art teachers rather than art itself. They seemed to lose their interest in art because of art teachers’ insensitive words or attitudes toward their artworks. For example, one of my friends explained that the reason why she lost her interest for art was that her teacher made fun of her artwork due to her lack of skill. The art teacher always judged the value of students’ artworks based on the teacher’s preference. I have asked my sixth grade students why they do not like art very much. They said that they have found themselves that they were not skillful enough to create art compared to others. One of them said to me, “Ms. Toku, I like art. But, I’m not a good artist.” Thirdly, many people, not only students but even adults, believe that art is not important compared to other academic subjects since art is not important to their everyday lives. Some people might say that they can live without art. What can art teachers do for those students who do not like art? What should art teachers do to not lose students’ interest in art?
In a Chinese saying, it is said that there are many talented racehorses, but only a few good trainers who can find and encourage their talent to be a racehorse. I also feel that there are many talented children (even though they do not realize it), but only a few good art teachers who know what and how to teach.
What about the role of art education?
California State University, Chico
Introduction
The purpose of this study is to rethink the role of art education in general education based on the crisis of art education in Japan. Can art education experiences in the US suggest new ways to confront the problems in Japan?
There are many ideas of what the goals of art education should be depending on each country and even each period in each country in order to respond to social needs. However, there are two possibilities for the role of art education in general. One is assuming that art is something special which has a role different from other subjects. Another is to assume that there is art in all subjects and art can be integrated with other subjects. The first idea is typical of art education in Japan. The second idea is close to the recent issues of art education in the US. In Japan, the role of art education is to encourage the development of students’ rich sensibilities through making art in order to have a spiritually wonderful life in the future, in a way, which other subjects cannot do. Therefore, the Fundamental Law of Education, which was enacted in 1947, required “fine arts” as one of the required subjects in compulsory education from 1st through 9th grades. Since then the status of fine arts has never changed as one of the most important required courses. Despite this policy of the last fifty years, art education is being removed from the required courses with the movement of reforming general education in 2003. The former role of art education as an independent subject is no longer persuasive that art is one of the most important subjects in general education. Art educators in Japan are being asked to rethink the role of art education. Should the role of art education be an independent or an interrelated subject? What can art education contribute to general education? By adopting the concept of DBAE in the art educational curriculum in Japan, some Japanese art educators are trying to face the changes in practice in the field of art education. Can the concept of DBAE help with the crisis in Japan?
Depending on the background and social context of each country, the purpose and method of art education will differ. Just as Japan has a national curriculum, the U.S. has diverse art educational curricula. In spite of the idealism that each art educational program holds, the circumstances of art education are not stable, so art tends to be underestimated compared to other subjects. The problems of art education and future goals will be discussed based on the crisis of art education in Japan.
Cross-cultural study of art education programs in schools: the difference between the U.S. and Japan (The Art Curriculum of Compulsory Education in Japan)
Introduction
With the development of the human life style, the concept of art education in schools has gradually been changing,. It encourages and supports children to foster their creativity and humanity through their works of art, which contribute to society, The art education in the US, and Japan is not exceptions. Although the principles toward art education in the Us and Japan are almost the same, being learning art in schools is very important for children to help their mental growth, there are some differences between the US and Japan in both the structure of these programs and in administration. My main interest is why the curriculums between the US and Japan are so different. Many reasons exist, but two critical reasons seem to influence the difference. One reason is the difference of cultural backgrounds between both countries. Another is the differences of philosophy toward art and aesthetics in both Western and Eastern societies. However, for this paper, I would like to concentrate on the first reason because most art educations are thought based on Western philosophy in present. Therefore, by comparing the similarities and differences toward art educational programs between the US and Japan based on the differences in cultural backgrounds, I would like to focus on the problems and solutions in both programs and the future directions toward art education of both countries. In addition, art education curriculums of both countries are compared based on elementry schools for referencing.
Historical background of education in Japan
Japan has experienced two major reforms in its educational system both occurring simultaneously with a major quantitative expansion, which were the Meiji restoration (1868) and World War II (1945).
In 1872, five years after the Meiji restoration, the government enacted the “Gakusei,” or Fundamental Code of Education, which introduced a primary educational system in a democratic context in Japan. The significance of this event was that it declared support for the principle of education by the new Meiji government. A code was also enacted t declare the ideal of the educational policy, “education for all people.” The main purpose of education was that the government intended to foster a strong national power through education to catch up with the western world. Unlike England or the U.S. at that time, the government had not adapted the compulsory education system although the Code recommended six years of primary education for any child regardless of sex, social status, or means. By 1886 three or four years of elementary education were made compulsory. In 1900, the length of compulsory education in elementary school was extended to four years nationwide, and the tuition-free public elementary school system was adopted by law.
In 1947, after World War II, the new Constitutions of Japan provided the Fundamental law of Education and School Law. Under these Laws, the government began reforming the old education system and developed in 6-3-3-4 structured system under the supervision of the GHQ (General Headquarter of Allied Power). In addition, compulsory education was expanded to include the lower Secondary school education (Junior high school), and the tuition-free education was also extended to the same extent in public schools.
The fundamental Law of Education required certain subjects in compulsory education. In the elementary schools (1st through 6th grades), there are nine required subjects, Japanese Language, Social Studies, Arithmetic, Science, Life Environment Studies, Music, Drawing and Handicrafts., Homemaking, and Physical Education. In the lower secondary schools, the junior high schools or the middle schools (7th through 9th grades), eight subjects are required, such as Japanese Language, Social Studies, Mathematics, Science, Music, Fine Arts, Health and physical Education, and Industrial Arts (for boys) and Homemaking (for girls).
The background of art education in Japan
In Japan, the Ministry of Education has changed totally six times (1947, 1951, 1958, 1968, 1977, and 1989) in theory and practice in the field of art education program after World War II. The first two programs, 1947 and 1951, presented a tentative curriculum in a short period under the control of general headquarters of allied forces. Although American influence appeared in the contents; these programs were based on the practical manner of how to make and create works of art rather than stressing aesthetic attitude. Fundamentally it shifted from the traditional manner of Japanese art education to those that mixed the appreciation of Japanese tradition and Western art education. The third program presented in 1958 took a stand on a “student-centered” curriculum, and focused on cultivating creative and practical attitudes through basic techniques toward art-making and viewing through works of art. The fourth change in 1968 was a “teacher-proof” curriculum. Because of reinforcement in systematic study, the content was divided into five categories; painting, sculpture, design, craft, and appreciation (critique). In 1977, the content of art education programs was drastically cut and reformed into two main concepts of “expression” and “appreciation” (included critique). The goal of this curriculum was focused on a synthetic creative-activity though works of art.
Finally, the revision in 1989 was a reform based on the concept of the 1977 curriculum with added ideas of playing and enjoying the making of works of art in addition to learning the technique of making art products. The goal of art education was to foster the basic ability of productive and creative-activity through expression, appreciation, and critiques, while at the same time fostering pleasure o expression and cultivating rich sentiments in children. Three contents fall into the categories of expression: 1) creative activity based on materials, 2) expressive activity in 2-D and 3-D, 3) productive activity about what you want. The details of the program are presented in three levels in elementary school; the lower grades (first and second grades), the middle grades (third and fourth grades), and the higher grades (fifth and sixth grades).
Through these changes in theory and practice in the field of art education in Japan, the characteristics of the art educational curriculum in Japan are nation-centered (government-centered), unlike in the US where the focus is on a district-centered curriculum. The reason must be linked to the differences of cultural backgrounds.
Teaching Philosophy of Art: How can art education integrate with academic subjects?
Why don’t some people like art, in spite of the fact that they used to love art when they were younger children? Many of them used to love and enjoy creating art on paper, with clay, and so on. Nevertheless, some of them seemingly lose their interest in art with ages. When, how, and why do they dislike art? There are at least three patterns.
First, when I asked my friends who do not like art very much why they do not like art, some of them said that they disliked art teachers rather than art itself. They seemed to lose their interest in art because of art teachers’ insensitive words or attitudes toward their artworks. For example, one of my friends explained that the reason why she lost her interest for art was that her teacher made fun of her artwork due to her lack of skill. The art teacher always judged the value of students’ artworks based on the teacher’s preference. I have asked my sixth grade students why they do not like art very much. They said that they have found themselves that they were not skillful enough to create art compared to others. One of them said to me, “Ms. Toku, I like art. But, I’m not a good artist.” Thirdly, many people, not only students but even adults, believe that art is not important compared to other academic subjects since art is not important to their everyday lives. Some people might say that they can live without art. What can art teachers do for those students who do not like art? What should art teachers do to not lose students’ interest in art?
In a Chinese saying, it is said that there are many talented racehorses, but only a few good trainers who can find and encourage their talent to be a racehorse. I also feel that there are many talented children (even though they do not realize it), but only a few good art teachers who know what and how to teach.
What about the role of art education?
There are many ideas of what the goals of art education should be depending on each country and even each period in each country in order to respond to social needs. Particularly in the U.S., the goal of art education differs in each state, district, and even in each school reflecting the diverse demographics. However, there are two possibilities for the role of art education in general. One is assuming art is something special which has a role different from other subjects. Another is to assume that there is art in all subjects and art can be integrated with other subjects. The first idea is typical of art education in Japan. The latter idea is close to the recent issue of art education in the US.
In Japan, the role of art education is to encourage the development of students’ rich sensitivity to have a spiritually wonderful life in the future, which other subjects cannot do. A national art curriculum has been developed and implemented based on this concept after World War II in Japan. On the contrary, the purpose of art education at present in the U.S. is becoming more practical than that of Japan: art education should be integrated with other subjects. In brief, by using visual thinking skills such as appreciation, articulation, and observation through art/artworks, one of the goals of art education is to encourage students’ basic reading/writing skills since art is related to all subjects. Which is more persuasive than the other to promote the value of art education is? Should the role of art education be as an independent subject or an interrelated subject?
The role of art education does not have to be either one or the other since art education can fulfill both roles. Whether the role of art education should be as an independent subject or an interrelated subject must be reflected by the situation of art education in the society in each country. Therefore, the issue should be how art education can clearly define its role, since it tends to be too abstract to persuade the public of its importance compared to other subject. Then how can the role of art education be defined as an independent and also an interrelated subject?
First, Art education is an independent subject with the purpose of finding and developing one’s identity. By creating artwork and understanding different art, one can appreciate the values of diverse cultures. It is indispensable for one to find one’s own identity to live in this world. Those who know themselves can solve problems, which they will face in the future. Art education might not be able to define a single concrete value; however, art education can make us realize how art is meaningful to our everyday lives and help to find one’s identity which is one of the most important things to live in this world.
In spite of the fact that no art educator would doubt that there is art in all subjects and art is related to all subjects, how many people think this way? Even classroom teachers in elementary schools do not realize that is art in all subjects, although they use visual information as a tool to teach those subjects. As an interrelated subject, art education should emphasize that art can integrate with academic subjects.
In conclusion, through my experiences as an art teacher, classroom teacher, museum educator, and also an art student in the US and Japan, I strongly feel that art is the most important subject to think about myself (my identity) where I am from and where I am going. And I found that art cannot exist by itself and it always related to other things. My philosophy of art is that art is a window to look at other cultures, to understand other values, and finally to find one’s identity. I am also one who survives in this unfamiliar country through art since my artwork allows me to communicate with people. Even though this world is unconsciously filled with much bias, unfairness, and discrimination, art will tell us how to live in this world since art can tell us what our identity is.
How can art education integrate with academic subjects in education?
There are at least two things through collaborations to make all teachers realize how art is important and helpful in teaching other academic subjects in education.
One is the collaboration with classroom teachers of early childhood and elementary to demonstrate the value of art as a communicative teaching tool, how art is a wonderful visual tool in teaching other subjects. For example, the lab course of art education for education majors should be designed to teach not only the basic technique of art-making and the knowledge of materials, but also the development of a curriculum where visual information is utilized to teach complicated subjects. Most children are visual learners rather than aural learners. If teachers can use visual information properly to teach a particular subject, students will learn more easily than with a simple lecture.
There should also be collaboration with museum and community to emphasize the value of visual thinking strategy through art. Visual thinking strategy (VTS) is designed for use by classroom teachers with little or no art training to support the development of children’s visual thinking abilities. Children are encouraged to practice how to look at and discuss art under the instruction of classroom teachers. Through careful looking and facilitated group discussion of art, children can develop critical and creative thinking skills as well as logical argumentation during facilitated discussions. These problem-solving skills are important for dealing with new and complex information in many different subject areas.
In conclusion, regardless of whether it is an independent or interrelated subject, art education should clearly define the role of art education. It is indispensable for art education to collaborate with other fields to emphasize the value of art since art is a wonderful communicative tool to teach and to learn other subjects. Again, we should not forget that art is only one subject which help to find one’s identity.
In Japan, the role of art education is to encourage the development of students’ rich sensitivity to have a spiritually wonderful life in the future, which other subjects cannot do. A national art curriculum has been developed and implemented based on this concept after World War II in Japan. On the contrary, the purpose of art education at present in the U.S. is becoming more practical than that of Japan: art education should be integrated with other subjects. In brief, by using visual thinking skills such as appreciation, articulation, and observation through art/artworks, one of the goals of art education is to encourage students’ basic reading/writing skills since art is related to all subjects. Which is more persuasive than the other to promote the value of art education is? Should the role of art education be as an independent subject or an interrelated subject?
The role of art education does not have to be either one or the other since art education can fulfill both roles. Whether the role of art education should be as an independent subject or an interrelated subject must be reflected by the situation of art education in the society in each country. Therefore, the issue should be how art education can clearly define its role, since it tends to be too abstract to persuade the public of its importance compared to other subject. Then how can the role of art education be defined as an independent and also an interrelated subject?
First, Art education is an independent subject with the purpose of finding and developing one’s identity. By creating artwork and understanding different art, one can appreciate the values of diverse cultures. It is indispensable for one to find one’s own identity to live in this world. Those who know themselves can solve problems, which they will face in the future. Art education might not be able to define a single concrete value; however, art education can make us realize how art is meaningful to our everyday lives and help to find one’s identity which is one of the most important things to live in this world.
In spite of the fact that no art educator would doubt that there is art in all subjects and art is related to all subjects, how many people think this way? Even classroom teachers in elementary schools do not realize that is art in all subjects, although they use visual information as a tool to teach those subjects. As an interrelated subject, art education should emphasize that art can integrate with academic subjects.
In conclusion, through my experiences as an art teacher, classroom teacher, museum educator, and also an art student in the US and Japan, I strongly feel that art is the most important subject to think about myself (my identity) where I am from and where I am going. And I found that art cannot exist by itself and it always related to other things. My philosophy of art is that art is a window to look at other cultures, to understand other values, and finally to find one’s identity. I am also one who survives in this unfamiliar country through art since my artwork allows me to communicate with people. Even though this world is unconsciously filled with much bias, unfairness, and discrimination, art will tell us how to live in this world since art can tell us what our identity is.
How can art education integrate with academic subjects in education?
There are at least two things through collaborations to make all teachers realize how art is important and helpful in teaching other academic subjects in education.
One is the collaboration with classroom teachers of early childhood and elementary to demonstrate the value of art as a communicative teaching tool, how art is a wonderful visual tool in teaching other subjects. For example, the lab course of art education for education majors should be designed to teach not only the basic technique of art-making and the knowledge of materials, but also the development of a curriculum where visual information is utilized to teach complicated subjects. Most children are visual learners rather than aural learners. If teachers can use visual information properly to teach a particular subject, students will learn more easily than with a simple lecture.
There should also be collaboration with museum and community to emphasize the value of visual thinking strategy through art. Visual thinking strategy (VTS) is designed for use by classroom teachers with little or no art training to support the development of children’s visual thinking abilities. Children are encouraged to practice how to look at and discuss art under the instruction of classroom teachers. Through careful looking and facilitated group discussion of art, children can develop critical and creative thinking skills as well as logical argumentation during facilitated discussions. These problem-solving skills are important for dealing with new and complex information in many different subject areas.
In conclusion, regardless of whether it is an independent or interrelated subject, art education should clearly define the role of art education. It is indispensable for art education to collaborate with other fields to emphasize the value of art since art is a wonderful communicative tool to teach and to learn other subjects. Again, we should not forget that art is only one subject which help to find one’s identity.
What is Manga?: The Influence of Pop-culture in Adolescent Art
Masami Toku
California State University, Chico
October, 2000
Introduction
One of the major problems facing art education is the loss of children's interest in art as they get older. This loss of interest may be due to internal struggles of adolescence or to external stresses, often times in the art classroom itself. Artistic developmental theories explain this loss of interest in art as a universal, cross-cultural tendency. However, recent research (Toku 1998, 2000, Wilson, 1997, 1999, 2000) has suggested that Japanese children may be an exception to this tendency. Japanese children tend to continue to acquire skills to express visual narratives through this difficult period in the form of comics, or manga. This brings up an important question for art educators: how can this interest in comic books be utilized as a teaching tool in Japan or even extended to countries like the U.S.?
Internal and external disruptions in children's artistic development
Piagetians, including Lowenfeld and Brittain (1970) describe childrenís artistic development as a hierarchical linear progression called the stage theory of cognitive development. However, there is an argument that childrenís artistic development does not always show a linear progression and artistic ability often stops during the transition period from child to adolescent art. For example, Read (1958) explains that most childrenís artistic ability declines around 11 to 14 years old due to the loss of interest in and motivation to create art. He called it "the period of oppression." Gardner (1980, 1990) and Davis (1997) also explain the tendency of decline during middle childhood in the pattern of a U-curve of cognitive development. Why do children lose their interest in art at a certain age?
There is no simple answer, rather complex internal and external factors. Internal disruptions relate to issues of self-awareness; children start to realize their own limitations in producing realistic art. They also start to compete with their peers and to judge the relative value of their artwork. External disruptions relate to the social environment. Art is often undervalued as an academic subject. Children may be sensitive to criticism from art teachers. Art curricula are often developed without regard for students' interests.
But do all children really tend to lose their interest in art due to these internal and external disruptions? Is there no hope for teachers to support artistic development through this difficult period? Cross-cultural analysis of children's artistic development in the U.S. and Japan may suggest just such a hope.
The influence of manga in children's artistic development in Japan
Recent research conducted by Dr. Brent Wilson and myself has found an impressive movement of young amateur Japanese comic book, or manga (pronounced "mahngah") artists, whose sheer numbers suggest that Japanese children may be less vulnerable to the "period of oppression." Many of these artists participate in the phenomenon of the Japanese comic markets, which were developed to provide young people with an opportunity to exchange their ideas by creating and selling their own original manga magazines. By reflecting Japanese young people's desire to depict their own stories in manga and communicate with peers through these original manga, the comic market has rapidly expanded since 1975 to become a huge market. During three days of summer 2000 in Tokyo, more than 300,000 young people from all over Japan participated in the market, with more than 20,000 booths selling original manga magazines. The large number of young people involved in these amateur publishing ventures is one example of their continued interest in graphic narrative. It appears that while attending and after graduating school, Japanese children continue to acquire skills to express visual narratives through this model of pop-culture, rather than through art education in schools. Instead of ceasing to express themselves through art, they develop their problem-solving skills and learn visual techniques to replicate their thoughts in the visual narratives of manga (Wilson, 2000). From the early elementary school period through secondary school, it is easy to find the influences of manga, which strongly appear in their graphic narratives (Toku, 1998, Wilson, 1988).
Place Figure 1, 2, and 3 about here
Figure 1: A playing scene in a school yard by a 4th grade boy (1997)
Figure 2: A playing scene in a school yard by a 6th grade boy (1997)
Figure 3: A 6 frame narrative of discussing the results of science assignments in the near future by a 10th grade girl ("How about your science assignment creating a planet?" "It's okay, but these people are always having wars .... although I named it "Earth." Personal collection of Dr. Brent Wilson)
Many questions emerge concerning the particular phenomenon of manga. Why are Japanese children attracted to manga? What are the characteristics of manga? Are they different from comic books in the USA? What are the advantages and disadvantages of mangaís influence? If there are advantages to the influence of manga, is it possible to adapt them into art educational curricula? In the following pages I would like to discuss some answers to these questions and the possibility of creating an attractive art curriculum to encourage children's motivation for art. By understanding the mechanism of influence of this element of pop-culture in Japanese childrenís artistic development, it may be possible to predict trends in American children's artistic development in the near future. Nowadays, it is impossible to ignore the influence of pop-culture in children's artistic development regardless of the culture; the visual attractions of mass media including TV, movies, and computer games are omnipresent. This tremendous influx of visual information could be a great resource for creating art educational curricula in the U.S. and could be more attractive to students and possibly more effective.
The characteristics of manga as the original style of Japanese comic books
Place Figure 4 and 5 about here
Figure 4: Animal caricatures (Choju-giga): The contest between the Rabbit and the Frog (scene from the first scroll). Second quarter of the 12th century. Handscroll, ink drawing on paper. (Height 12 1/2") Kozan-ji, Kyoto
Figure 5: Hokusai manga (Hokusai Sketch). Early 18th century, Kyoto
Manga - literally meaning "humorous picture" - originally started as a simple caricature, just as in other countries such as the U.S. The origin of manga possibly goes back to the 12th century "Chojugiga (the Animal Scrolls)" - literally, "humorous pictures of birds and animals" which was depicted by an artist-priest Kakuyu, or Toba (1053-1140) (Akiyama, 1990, Schodt, 1983). Manga developed as a graphic narrative through the work of Hokusai Katsushika (1760-1849), who depicted the Ukiyoe or "Floating world." With the expansion of manga's readers' age from children to adolescents and adults, manga gradually developed into an original style of Japanese comic books reflecting the needs of depicting the complexity of human dramas in graphic narrative. The trend was especially notable after World War II with the influence of American comic books and Disney animation and reached the peak development of the original style of Japanese manga from the 1980s to the 1990s. (Yonezawa, 1997).
In comic books of other countries (such as American comic books), there is a composition of visual story in the two-dimensional surface. Manga also has what is called the elements of manga or the grammar of manga: 1) picture (depicting objects and figures), 2) word (including onomatopoeia), 3) balloon (indicating words), and 4) frame (surrounding pictures) (Natsume, 1997). The function of each element of manga is a little different from those of the American comic book since manga developed from a simple caricature or good vs. evil story into a complicated story which contains diverse themes including politics, religious, historical, social, cultural issues, and many other themes.
In manga, each element has an important function to explain the meta-levels of space and mind in response to the complicated story. The picture is the content of mangaís expression, which is basically constructed of lines. It is generally divided into positive shapes (figures) and negative shapes (background). The word including onomatopoeia in manga is generally divided into the outside voice (sound), which comes directly from subjects, and the inside voice, which appears only in the mind. Word also appears independently outside of the frame with or without balloons as a directional connector between frames. The balloon ("fukidashi") used to be the container of the inside voice of the mind or an outside voice from subject/object differentiated from the narration. However, it developed to support the expression of manga on the meta-level, which means both the inside and the outside voice/thought of the subject/object could be shown simultaneously in the same frame, differentiated by the shape of the balloons. The frame ("koma") has a role as a container, which includes the picture as the content, and the word, which is namely "format." It also has a function to integrate time and space. Frame used to be simple square or rectangle shapes displayed in alignment on a page: however, it developed into diverse shapes aligned dynamically to express different psychological situations (Natsume, 1995, 1997, Yomota, 1994).
Thus, the roles of picture, word, and frame have and created the unique characteristics of Japanese manga. Put simply, the complexity and drama of the story is the reason young people are strongly attracted to manga. As a result of reading manga and discussing it with their peers, young people's literacy is growing (Nakazawa and Nakazawa, 1993)
Place Figure 6, 7, 8, & 9 about here
Figure 6: An example of manga's grammar - a traditional usage of frame (read right to left and top to bottom), p.9. in Shonen Jump (a boy's weekly manga magazine) . No. 52-53, 1999. Copyright. Yumi Hotta/Ken Obata/Syueisha
Figure 7: An example of manga's grammar - a spatial usage of frames depicts one scene simultaneously from different directions (a boy is looking at a girl's picture and another girl asks who she is), p. 27. in Ribbon (a monthly girl's manga magazine). December, 1999.
Figure 8: An example of manga's grammar - Voice and thought in balloons (thoughts are depicted in a typical balloon and spike balloons), p.29, in Shonen Jump. No. 52053, 1999. Copyright. Yumi Hotta/Ken Obata/Syueisha
Figure 9: An example of manga's grammar - Space, time, and mind with/without frames (a scene where a boy had a traffic accident - the situation and the time progression are depicted with progressively smaller frames, and a girl's thoughts are depicted without a balloon in a big space, "If I have a chance to see him, I will try to say good morning" ..... when he is going to die because of the accident.), p.114. in Ribbon. December 1999.
The development of more complex stories in manga is related to the expansion of the age range of readers. Regardless of the country, comic books are generally assumed to be for children who eventually progress beyond childish habits generally after high school. Usually, children stopped buying and reading when they graduated elementary school. However, Japanese children did not stop even after high school because manga was more attractive than other media, such as TV and movies. A new manga generation, which did not stop reading manga when they became adults, emerged during the1960s. The new generation exposed to manga started to have high expectations of the story as they got older. With the readerís expectations, the story of manga developed to express more human drama than a caricature or a simple strip. As a result, manga started to produce many different types of stories, fiction and non-fiction: science fiction, sports, love stories, history, and so on, to please readers (Yonezawa, 1997).
The manga market started to publish monthly manga in the mid-1950s and weekly manga by the end of the1950s. For example, the first boyís weekly magazine was published (The Shonen Magazine) in 1959.With the development of the economy in Japan in the1970s and1980s, the manga market rapidly developed and manga itself became a popular culture in Japan. In 1994, the circulation of one of the boyís manga of about 500 pages, The Shonen Jump, finally reached six million (Nakano, 1997).
For Japanese children, manga was attractive as a visual means to live their dreams and be anything and anyone they wanted to be in the virtual reality (Wilson, 1988, 1997). For adults, manga were visual textbooks that satisfied their curiosity about the world (Toku, 1998, 2000).
Place Figure 10 (Jump) and 11 about here
Figure 10: The front page of Weekly boy's manga magazine, Shonen Jump (No. 52-53, 1999)
Figure 11: The front page of Monthly girl's manga magazine, Ribbon (December 1999)
Implementing manga in art educational curricula
How can this children's interest in comic books and the advantage of visual literacy through manga be utilized as a teaching tool in Japan or even extended to countries like the U.S.? In response to this pop-cultural phenomenon, the Ministry of Education in Japan decided to adapt the benefit of pop-culture to the national art educational curricula for 8th and 9th grades in compulsory education in1998.
In a course of study of the national art educational curriculum for secondary grades which will be implemented in April, 2002, the Ministry of Education proposes, "adapting pop-culture (manga, illustration, photo, video, computers) to express studentsí thoughts/ideas of what they think and what they want to be" (Spring, 1998). In Japan, the Ministry of Education has changed six times (1947, 1951, 1958, 1968, 1977, and 1989) in theory and practice in the field of art education since World War II. Through more than 50 years of educational history, this seventh reform (2002) is the first art educational reform that considers childrenís preferences for the subject matter in the curriculum.
In responding to this proposal of the course of study in art education, art educators have started to look for art educational programs with mangaís techniques and contexts. For example, Izumiya (2000) proposes a visual comprehension test as the first step of implementing mangaís technique in secondary art education. The test involves drawing objects by memory in order to communicate a common subject or situation to a second person. The purpose of this practice is to make students realize that they tend not to pay attention to such common subjects and how drawing simple subjects is not so easy. As the second step, Izumiya also recommends drawing a common situation in ordinary life by using mangaís techniques of composition such as close-ups and distant views in diverse alignments of frames on a single page. Izumiya recommends utilizing manga's visual grammar as a visual communicative tool to encourage children's visual literacy in art education.
On one hand, the techniques of manga give art teachers an opportunity to support the development of studentsí visual thinking skills such as observation, articulation, and critical thinking skills. By drawing a scene of ordinary life in sequential frames, students will pay attention to life and nature around them. These manga activities make art more meaningful to students and will give them a chance to find their identity by depicting themselves in a narrative story. On the other hand, it is also true that adapting manga in art educational curricula brings controversial issues from mangaka (cartoonists) and art teachers themselves. Mangaka and editors have fear that young people may lose their interest for manga if manga is taught through art education in schools. Why manga is so popular among young people is that manga has contextual and expressive freedom in narrative apart from the constraint of art education in schools. By implementing the techniques in art education as a communicative tool to express their thoughts, manga ironically may lose the attraction and the quality. This argument may never be resolved (this is a destiny of adapting any new methodology into a school system). Nevertheless, the most important thing for art education is that this is the first attempt to adapt children's preference into art educational curricula and teachers are beginning to consider the value of pop-culture and the advantages and disadvantages of manga. Art teachers in Japan have begun to reevaluate the role of art education to encourage children's interest and motivation for art.
Conclusion
Internal and external disruptions cause the loss of interest and motivation in creating art, especially during the middle of their artistic development in the adolescent period. In spite of the fact that art education is developed under the belief that art is a communicative tool to find one's identity to make it meaningful to live in one's life, it appears that this objective is not being met.
The role of the art teacher is not just how he/she can teach either the techniques of art making or the absolute value of art by making or looking at art, but rather how to draw students' interest and motivation to create art to find themselves in their own ways. While thinking of what the artwork is through the process of art making and critique of artworks, they will find how art is meaningful for themselves in their lives. In other words, it is important to make students realize how art is meaningful to live in their lives. To do so, we have to introduce diverse ways to create art as self-expression by including diverse values from different cultures.
This may be easier said than done, since teachers themselves often have difficulty implementing the proper art program to encourage students to make it meaningful for them. Especially in secondary education, many teachers struggle to face the imbalance between studentsí physical growth and mental growth. Their physical ability reaches almost the level of adults, but their mentality is still in the process of developing. As a result, we tend to bring our own values to art without thinking of studentsí own preference and aesthetics for art. Itís time to open our eyes to look at whatís going on in this world to know what are the most attractive artistic themes for students, although they may not necessarily be the same for us. If there is a pop-cultural phenomenon that begins to attract children, we should learn the advantages and the disadvantages of the particular pop-culture to look at the possibility of implementing it in art education.
The Japanese critic of pop-culture Natsume says, "when we learn something, we need a motive power, which should be to like something, to be interested in it, and for it to be fun" (1999, p.8)
For students who are in such a period of losing interest/motivation for art especially during secondary grades, we should find something to provide the motivational power of learning and to develop studentsí critical thinking skills. By using the mechanism of manga, it might be possible to help students find their own identities through narrative art. Itís time to reevaluate pop-culture to give students motivation to create their own values and identities through making and criticizing art.
REFERENCES
Akiyama, T. (1990). Japanese Painting. New York, NY: Rizzoli International Publications.
Davis, J. (1997). The "U" and the Wheel of "C": Development and Devaluation of Graphic Symbolization and the Cognitive Approach at Harvard Project Zero. In Kindler, A. (Eds). Child Development in Art. (pp.45-58). Reston, VA: the National Art Education Association.
Gardner, H. (1980). Artful Scribbles: The significance of children's drawings. New York, NY: Basic Books.
Gardner H. (1990). Art Education and Human Development. Santa Monica, CA: The Getty Center for Education in the Arts.
Izumiya T. (2000). Bijyutsushitsu de no manga no tsukiaikata [How to work with manga in art room]. In Art in Education. 61 (1). Tokyo: The Society for Art in Education.
Lowenfeld, V. & Brittain, W.L. (1970). Creative and mental growth. (5th ed.). New York: Macmillan.
Nakazawa, J. & Nakazawa, S. (1993). How children understand comics?: Analysis of comic reading comprehension. In Annual Research Early Childhood. 15. (pp. 35-39).
Natsume, F. (1995). Manga no Yomikata [How to read manga]. Tokyo: Takarajimasha.
Natsume, F. (1997). Manga no Bunpo [Grammar of Manga]. In Comic gaku no mikata [How to look at Comic]. Asahi Shimbun Extra Report & Analysis Special. 1997. 24, 86 ? 95. Tokyo: Asahi shinbun
Natsume, F (1997). Why manga are fascinating?: their visual idioms and grammar [Manga wa naze omoshiroi]. Tokyo: NHK Library.
Natsume, F. (1999). Manga ga suki [I like manga]. In Magazine for Art Education. 49 (8). 7-12. Tokyo: Biiku Bunka
Read, H. (1958). Education through art. (3rd Ed.). New York: Pantheon Book.
Schodt, F.L. (1983). The World of Japanese Comics. New York: Kodansha America, Inc.
Schodt, F.L. (1996). Dreamland Japan: Writings on Modern Manga. Berkeley, CA: Stone Bridge Press.
Toku, M (1998). Why Do Japanese Children Draw in Their Own Ways? Doctoral dissertation. University of Illinois at Urbana-Champaign.
Toku, M. (2000). Cross-cultural Analysis of Artistic Development: Drawings by Japanese and U.S. children. Paper accepted Visual Arts Research, 26 (1) or (2).
Wilson, B. (1988). The artistic tower of Babel: in extricable links between culture and graphic development. In Hardman, G.W. & Zernich, T. (Ed.), Discerning art: concepts and issues. (pp. 488 - 506). Champaign, IL: Stipes Publishing Company.
Wilson, B. (1997). Child art, multiple interpretations, and conflicts of interest. In A.M. Kindler (Ed.). Child development in art. (pp. 81-94). Reston, VA: the National Art Education Association.
Wilson, B (1999). Becoming Japanese: Manga, Childrenís Drawings, and the Construction of National Character. In Visual Arts Research. 25 (2). (pp. 48-60).
Wilson, B. (2000). Of Diagrams and Rhizomes: Disrupting the Content of Art Education. Draft of a paper presented at the Symposium of Art Education and Visual Culture at the Taipei Municipal Teachers College, Taipei, Taiwan, May 17, 2000.
Yomota, I. (1994). Mangagenron [The Principles of Manga]. Tokyo: Chikumasyobo.
Yonezawa Y. (1994), Shojo manga no sekai [The World of Girlís Manga]. Tokyo: Heibonsha.
Yonezawa Y. (1997). Shonen manga no sekai [The World of Boyís Manga]. Tokyo: Heibonsha
California State University, Chico
October, 2000
Introduction
One of the major problems facing art education is the loss of children's interest in art as they get older. This loss of interest may be due to internal struggles of adolescence or to external stresses, often times in the art classroom itself. Artistic developmental theories explain this loss of interest in art as a universal, cross-cultural tendency. However, recent research (Toku 1998, 2000, Wilson, 1997, 1999, 2000) has suggested that Japanese children may be an exception to this tendency. Japanese children tend to continue to acquire skills to express visual narratives through this difficult period in the form of comics, or manga. This brings up an important question for art educators: how can this interest in comic books be utilized as a teaching tool in Japan or even extended to countries like the U.S.?
Internal and external disruptions in children's artistic development
Piagetians, including Lowenfeld and Brittain (1970) describe childrenís artistic development as a hierarchical linear progression called the stage theory of cognitive development. However, there is an argument that childrenís artistic development does not always show a linear progression and artistic ability often stops during the transition period from child to adolescent art. For example, Read (1958) explains that most childrenís artistic ability declines around 11 to 14 years old due to the loss of interest in and motivation to create art. He called it "the period of oppression." Gardner (1980, 1990) and Davis (1997) also explain the tendency of decline during middle childhood in the pattern of a U-curve of cognitive development. Why do children lose their interest in art at a certain age?
There is no simple answer, rather complex internal and external factors. Internal disruptions relate to issues of self-awareness; children start to realize their own limitations in producing realistic art. They also start to compete with their peers and to judge the relative value of their artwork. External disruptions relate to the social environment. Art is often undervalued as an academic subject. Children may be sensitive to criticism from art teachers. Art curricula are often developed without regard for students' interests.
But do all children really tend to lose their interest in art due to these internal and external disruptions? Is there no hope for teachers to support artistic development through this difficult period? Cross-cultural analysis of children's artistic development in the U.S. and Japan may suggest just such a hope.
The influence of manga in children's artistic development in Japan
Recent research conducted by Dr. Brent Wilson and myself has found an impressive movement of young amateur Japanese comic book, or manga (pronounced "mahngah") artists, whose sheer numbers suggest that Japanese children may be less vulnerable to the "period of oppression." Many of these artists participate in the phenomenon of the Japanese comic markets, which were developed to provide young people with an opportunity to exchange their ideas by creating and selling their own original manga magazines. By reflecting Japanese young people's desire to depict their own stories in manga and communicate with peers through these original manga, the comic market has rapidly expanded since 1975 to become a huge market. During three days of summer 2000 in Tokyo, more than 300,000 young people from all over Japan participated in the market, with more than 20,000 booths selling original manga magazines. The large number of young people involved in these amateur publishing ventures is one example of their continued interest in graphic narrative. It appears that while attending and after graduating school, Japanese children continue to acquire skills to express visual narratives through this model of pop-culture, rather than through art education in schools. Instead of ceasing to express themselves through art, they develop their problem-solving skills and learn visual techniques to replicate their thoughts in the visual narratives of manga (Wilson, 2000). From the early elementary school period through secondary school, it is easy to find the influences of manga, which strongly appear in their graphic narratives (Toku, 1998, Wilson, 1988).
Place Figure 1, 2, and 3 about here
Figure 1: A playing scene in a school yard by a 4th grade boy (1997)
Figure 2: A playing scene in a school yard by a 6th grade boy (1997)
Figure 3: A 6 frame narrative of discussing the results of science assignments in the near future by a 10th grade girl ("How about your science assignment creating a planet?" "It's okay, but these people are always having wars .... although I named it "Earth." Personal collection of Dr. Brent Wilson)
Many questions emerge concerning the particular phenomenon of manga. Why are Japanese children attracted to manga? What are the characteristics of manga? Are they different from comic books in the USA? What are the advantages and disadvantages of mangaís influence? If there are advantages to the influence of manga, is it possible to adapt them into art educational curricula? In the following pages I would like to discuss some answers to these questions and the possibility of creating an attractive art curriculum to encourage children's motivation for art. By understanding the mechanism of influence of this element of pop-culture in Japanese childrenís artistic development, it may be possible to predict trends in American children's artistic development in the near future. Nowadays, it is impossible to ignore the influence of pop-culture in children's artistic development regardless of the culture; the visual attractions of mass media including TV, movies, and computer games are omnipresent. This tremendous influx of visual information could be a great resource for creating art educational curricula in the U.S. and could be more attractive to students and possibly more effective.
The characteristics of manga as the original style of Japanese comic books
Place Figure 4 and 5 about here
Figure 4: Animal caricatures (Choju-giga): The contest between the Rabbit and the Frog (scene from the first scroll). Second quarter of the 12th century. Handscroll, ink drawing on paper. (Height 12 1/2") Kozan-ji, Kyoto
Figure 5: Hokusai manga (Hokusai Sketch). Early 18th century, Kyoto
Manga - literally meaning "humorous picture" - originally started as a simple caricature, just as in other countries such as the U.S. The origin of manga possibly goes back to the 12th century "Chojugiga (the Animal Scrolls)" - literally, "humorous pictures of birds and animals" which was depicted by an artist-priest Kakuyu, or Toba (1053-1140) (Akiyama, 1990, Schodt, 1983). Manga developed as a graphic narrative through the work of Hokusai Katsushika (1760-1849), who depicted the Ukiyoe or "Floating world." With the expansion of manga's readers' age from children to adolescents and adults, manga gradually developed into an original style of Japanese comic books reflecting the needs of depicting the complexity of human dramas in graphic narrative. The trend was especially notable after World War II with the influence of American comic books and Disney animation and reached the peak development of the original style of Japanese manga from the 1980s to the 1990s. (Yonezawa, 1997).
In comic books of other countries (such as American comic books), there is a composition of visual story in the two-dimensional surface. Manga also has what is called the elements of manga or the grammar of manga: 1) picture (depicting objects and figures), 2) word (including onomatopoeia), 3) balloon (indicating words), and 4) frame (surrounding pictures) (Natsume, 1997). The function of each element of manga is a little different from those of the American comic book since manga developed from a simple caricature or good vs. evil story into a complicated story which contains diverse themes including politics, religious, historical, social, cultural issues, and many other themes.
In manga, each element has an important function to explain the meta-levels of space and mind in response to the complicated story. The picture is the content of mangaís expression, which is basically constructed of lines. It is generally divided into positive shapes (figures) and negative shapes (background). The word including onomatopoeia in manga is generally divided into the outside voice (sound), which comes directly from subjects, and the inside voice, which appears only in the mind. Word also appears independently outside of the frame with or without balloons as a directional connector between frames. The balloon ("fukidashi") used to be the container of the inside voice of the mind or an outside voice from subject/object differentiated from the narration. However, it developed to support the expression of manga on the meta-level, which means both the inside and the outside voice/thought of the subject/object could be shown simultaneously in the same frame, differentiated by the shape of the balloons. The frame ("koma") has a role as a container, which includes the picture as the content, and the word, which is namely "format." It also has a function to integrate time and space. Frame used to be simple square or rectangle shapes displayed in alignment on a page: however, it developed into diverse shapes aligned dynamically to express different psychological situations (Natsume, 1995, 1997, Yomota, 1994).
Thus, the roles of picture, word, and frame have and created the unique characteristics of Japanese manga. Put simply, the complexity and drama of the story is the reason young people are strongly attracted to manga. As a result of reading manga and discussing it with their peers, young people's literacy is growing (Nakazawa and Nakazawa, 1993)
Place Figure 6, 7, 8, & 9 about here
Figure 6: An example of manga's grammar - a traditional usage of frame (read right to left and top to bottom), p.9. in Shonen Jump (a boy's weekly manga magazine) . No. 52-53, 1999. Copyright. Yumi Hotta/Ken Obata/Syueisha
Figure 7: An example of manga's grammar - a spatial usage of frames depicts one scene simultaneously from different directions (a boy is looking at a girl's picture and another girl asks who she is), p. 27. in Ribbon (a monthly girl's manga magazine). December, 1999.
Figure 8: An example of manga's grammar - Voice and thought in balloons (thoughts are depicted in a typical balloon and spike balloons), p.29, in Shonen Jump. No. 52053, 1999. Copyright. Yumi Hotta/Ken Obata/Syueisha
Figure 9: An example of manga's grammar - Space, time, and mind with/without frames (a scene where a boy had a traffic accident - the situation and the time progression are depicted with progressively smaller frames, and a girl's thoughts are depicted without a balloon in a big space, "If I have a chance to see him, I will try to say good morning" ..... when he is going to die because of the accident.), p.114. in Ribbon. December 1999.
The development of more complex stories in manga is related to the expansion of the age range of readers. Regardless of the country, comic books are generally assumed to be for children who eventually progress beyond childish habits generally after high school. Usually, children stopped buying and reading when they graduated elementary school. However, Japanese children did not stop even after high school because manga was more attractive than other media, such as TV and movies. A new manga generation, which did not stop reading manga when they became adults, emerged during the1960s. The new generation exposed to manga started to have high expectations of the story as they got older. With the readerís expectations, the story of manga developed to express more human drama than a caricature or a simple strip. As a result, manga started to produce many different types of stories, fiction and non-fiction: science fiction, sports, love stories, history, and so on, to please readers (Yonezawa, 1997).
The manga market started to publish monthly manga in the mid-1950s and weekly manga by the end of the1950s. For example, the first boyís weekly magazine was published (The Shonen Magazine) in 1959.With the development of the economy in Japan in the1970s and1980s, the manga market rapidly developed and manga itself became a popular culture in Japan. In 1994, the circulation of one of the boyís manga of about 500 pages, The Shonen Jump, finally reached six million (Nakano, 1997).
For Japanese children, manga was attractive as a visual means to live their dreams and be anything and anyone they wanted to be in the virtual reality (Wilson, 1988, 1997). For adults, manga were visual textbooks that satisfied their curiosity about the world (Toku, 1998, 2000).
Place Figure 10 (Jump) and 11 about here
Figure 10: The front page of Weekly boy's manga magazine, Shonen Jump (No. 52-53, 1999)
Figure 11: The front page of Monthly girl's manga magazine, Ribbon (December 1999)
Implementing manga in art educational curricula
How can this children's interest in comic books and the advantage of visual literacy through manga be utilized as a teaching tool in Japan or even extended to countries like the U.S.? In response to this pop-cultural phenomenon, the Ministry of Education in Japan decided to adapt the benefit of pop-culture to the national art educational curricula for 8th and 9th grades in compulsory education in1998.
In a course of study of the national art educational curriculum for secondary grades which will be implemented in April, 2002, the Ministry of Education proposes, "adapting pop-culture (manga, illustration, photo, video, computers) to express studentsí thoughts/ideas of what they think and what they want to be" (Spring, 1998). In Japan, the Ministry of Education has changed six times (1947, 1951, 1958, 1968, 1977, and 1989) in theory and practice in the field of art education since World War II. Through more than 50 years of educational history, this seventh reform (2002) is the first art educational reform that considers childrenís preferences for the subject matter in the curriculum.
In responding to this proposal of the course of study in art education, art educators have started to look for art educational programs with mangaís techniques and contexts. For example, Izumiya (2000) proposes a visual comprehension test as the first step of implementing mangaís technique in secondary art education. The test involves drawing objects by memory in order to communicate a common subject or situation to a second person. The purpose of this practice is to make students realize that they tend not to pay attention to such common subjects and how drawing simple subjects is not so easy. As the second step, Izumiya also recommends drawing a common situation in ordinary life by using mangaís techniques of composition such as close-ups and distant views in diverse alignments of frames on a single page. Izumiya recommends utilizing manga's visual grammar as a visual communicative tool to encourage children's visual literacy in art education.
On one hand, the techniques of manga give art teachers an opportunity to support the development of studentsí visual thinking skills such as observation, articulation, and critical thinking skills. By drawing a scene of ordinary life in sequential frames, students will pay attention to life and nature around them. These manga activities make art more meaningful to students and will give them a chance to find their identity by depicting themselves in a narrative story. On the other hand, it is also true that adapting manga in art educational curricula brings controversial issues from mangaka (cartoonists) and art teachers themselves. Mangaka and editors have fear that young people may lose their interest for manga if manga is taught through art education in schools. Why manga is so popular among young people is that manga has contextual and expressive freedom in narrative apart from the constraint of art education in schools. By implementing the techniques in art education as a communicative tool to express their thoughts, manga ironically may lose the attraction and the quality. This argument may never be resolved (this is a destiny of adapting any new methodology into a school system). Nevertheless, the most important thing for art education is that this is the first attempt to adapt children's preference into art educational curricula and teachers are beginning to consider the value of pop-culture and the advantages and disadvantages of manga. Art teachers in Japan have begun to reevaluate the role of art education to encourage children's interest and motivation for art.
Conclusion
Internal and external disruptions cause the loss of interest and motivation in creating art, especially during the middle of their artistic development in the adolescent period. In spite of the fact that art education is developed under the belief that art is a communicative tool to find one's identity to make it meaningful to live in one's life, it appears that this objective is not being met.
The role of the art teacher is not just how he/she can teach either the techniques of art making or the absolute value of art by making or looking at art, but rather how to draw students' interest and motivation to create art to find themselves in their own ways. While thinking of what the artwork is through the process of art making and critique of artworks, they will find how art is meaningful for themselves in their lives. In other words, it is important to make students realize how art is meaningful to live in their lives. To do so, we have to introduce diverse ways to create art as self-expression by including diverse values from different cultures.
This may be easier said than done, since teachers themselves often have difficulty implementing the proper art program to encourage students to make it meaningful for them. Especially in secondary education, many teachers struggle to face the imbalance between studentsí physical growth and mental growth. Their physical ability reaches almost the level of adults, but their mentality is still in the process of developing. As a result, we tend to bring our own values to art without thinking of studentsí own preference and aesthetics for art. Itís time to open our eyes to look at whatís going on in this world to know what are the most attractive artistic themes for students, although they may not necessarily be the same for us. If there is a pop-cultural phenomenon that begins to attract children, we should learn the advantages and the disadvantages of the particular pop-culture to look at the possibility of implementing it in art education.
The Japanese critic of pop-culture Natsume says, "when we learn something, we need a motive power, which should be to like something, to be interested in it, and for it to be fun" (1999, p.8)
For students who are in such a period of losing interest/motivation for art especially during secondary grades, we should find something to provide the motivational power of learning and to develop studentsí critical thinking skills. By using the mechanism of manga, it might be possible to help students find their own identities through narrative art. Itís time to reevaluate pop-culture to give students motivation to create their own values and identities through making and criticizing art.
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