Estimation in 3-H Art Education : Based on the action of estimate using self-estimationboard

This study tried to prove the validity of ""3-H (Heart, Head, and Hand)art education"" focusing on ""Head""and ""Hand"" founded on ""Heart"". In this study, We adopted a practical study, adding the ideas of ""Recommendation of 3-M art education"" to the basic idea of ""3-H art education"". On evaluation in the classroom, We evaluated students' interests, motivation, and attitude in art class by using the ""self-estimation board"" that students evaluated their creating process. Based on the evaluation, We investigated the effectiveness of ""Heart"", that its' psychological effect draws ""Head"" and it becomes a cause to trigger ""Hand""

The Creation of School Education Bringing up a Student Carrying Tomorrow (3) : The Valuation of "Compulsory Subjects", "Optional Subjects", and "Integrated Subjects"

The purpose of this study is to show the valuation of "Compulsory Subjects", "Optional Subjects", and "Integrated Subjects", to show the relationship between each subjects and "three abilities", "the ability of recognizing othere senses of value", "the ability of self-expression and communication" and "the ability of decision-making" which defined by the project members. The main result of this study is that we should make up the standards which teachers, students and parents recognize as important abilities

Viewpoints for the Restructuring of Art Education

Art education as a school subject is now on the verge of disappearing from the school curriculum in Japan. Facing this critical situation, we are no longer allowed to give a silent recognition and feel remorse later. Today's critical condition of art education would not have been brought about if those of us in art education in kindergartens, elementary schools, junior high schools, senior high schools, and universities had reached an consensus on the role of art education as a subject contributing to the development of human beings. However, art education in Japan is virtually in the developmental stage and a considerable number of cases based on stereotypes and misunderstandings can be observed in the practices of art education. This article attempts to identify some problems for the future of art education and highlights concrete viewpoints to restructure art education

A Reconsideration of 3-H Art Education

The idea of 3-H art education by the author is neither a product guided by deep philosophical thoughts nor one generated by lofty pedagogical theories. In fact, it is all based on so called empirical findings while I taught at elementary schools for 14 years and also on empirical rules found in the process of reviewing outstanding classroom practices while I served at Hiroshima Prefectural Board of Education. In spite of that, why is this supported so widely? This reconsideration aims to confirm afresh and further consolidate the meaning of this conceptual model

Seven Guiding Principles in Designing Good Art Education (Part III) : Focusing on "Education for Art" and "Education through Art"

I make a point of saying that absolutely essential conditions for good art education consist of "Education for Art" and "Education through Art." It is out of supposition if you place too much emphasis on or miss one of them. Above all, we should never lose the idea of "Education through Art" directly linked to character formation. Because this is the first and ultimate ground for the art education that remains at the compulsory education stage; this was so in the past and will be so in the future. However, I see the disfavorable reality that the idea of "Education through Art" has not been ingrained yet when my heart goes out to "the present" of art education and "the past and the future." Why has not it been ingrained? In accord with my paper published last year, "Seven Guiding Principles in Designing Good Art Education (Part II); Focusing on "Education for Art" and "Education through Art," this small essay examines both the 1958 and the 1968 editions of the Art and Crafts Curriculum in the Course of Study for Elementary School with a focus on changes in the content of "the objective of the subject" and so on

Seven Guiding Principles in Designing Good Art Education (Part II) : Focusing on "Education for Art" and "Education through Art"

I make a point of saying that absolutely essential conditions for good art education consist of "Education for Art" and "Education through Art." It is out of supposition if you place too much emphasis on or miss one of them. Above all, we should never lose the idea of "Education through Art" directly linked to character formation. Because this is the first and ultimate ground for the art education that remains at the compulsory education stage; this was so in the past and will be so in the future. However, I see the disfavorable reality that the idea of "Education through Art" has not been ingrained yet when my heart goes out to "the present" of art education and "the past and the future." Why has not it been ingrained? In the paper I begin by examining this issue focusing on the history of the description of "the objective of the subject" and others in the Course of Study

Usefulness of Formative Play for Children with Special Educational Needs

特別な教育的配慮を要する児童・生徒に対して図画工作科や美術科はどのような意味をもっているのか。あるいはなんらかの可能性をもちうるのか。これらの事項の明確化が本小稿の中心課題である。とりわけ本稿では「造形遊び」に焦点をしぼり, その有用性を明らかにすることを試みた。なぜなら, 造形遊びはその意義や指導内容・方法など未だ学校教育の中において十分な理解を得ているとは言いがたい実態があり, なおかつ, 筆者は「特別な教育的配慮を有する児童・生徒」に対する造形遊びの固有の教育的意味及び可能性について大きな期待を持っているからである。 さらに, 本稿を通して造形遊びの有用性に関するコンセンサスを獲得すれば, たとえば, 統合・交流教育等における指導内容として積極的に導入されていくことなども期待できる。このことは子ども達の表現を保証することに連鎖するものであり筆者の現時点における美術科教育サイドの課題とも整合する。The primary concern of this article is to clarify what kinds of significance or potentialities art and craft education has children with special educational needs. In particular, the present study focuses on 'Formative Play' and tries to make clear its usefulness. It is because we cannot say that the significauce, teaching contents and methods of Formative Play are not adequately recognized yet in present school education, and furthermore, the author has high expectations for educational meanings and possibilities that Formative Play itself has for children with special educational needs. Moreover, if the present paper succeeds in achieving an agreement on usefulness of Formative Play, we can expect Formative Play to be positively introduced as teaching contents to the fields such as integrative/confluent education. This would lead to secure a chance of self-expression for children, which is in line with the goal of art education that the writer has at the present time