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.
Toku's Photos
Showing posts with label Other Related Art Research. Show all posts
Showing posts with label Other Related Art Research. Show all posts
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.
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