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This volume is a collection of papers intended to inform the world about art-based practices and educational research in Japan. It explores methodologies for situating the ever-elusive phenomenon of art education within a research context in which researchers in various academic fields, such as education, sociology, cognitive science, and neuroscience, have introduced practices appropriate to such settings as universities, high schools, elementary schools, kindergartens, museums, and after-school programs.
 
This volume came about primarily for two reasons. The first reason is that Japanese researchers have in recent years developed various forms of art-based research (ABR), which was proposed in the context of American art education in the 1990s and has been regarded as a form of qualitative research since around 2010. We could be said to have shifted from being mere recipients of advanced overseas research to becoming disseminators of Japanese practices. The second reason relates to the activities of , which was established in May 2019. Through the collaboration of seven graduate schools within the university, the Center strives to integrate art practice and research by offering art practice classes to all university students.
 
In the absence of a strict division, the volume’s 11 chapters can be loosely divided into three parts:
 
I. (Chapters 1?4) These chapters discuss the possibility of designing new educational content and studies through ABR that incorporates art into education and research.

II. (Chapters 5?8) These chapters discuss the possibility of art education in which non-art students participate in art practice and collaborate with artists to learn about the artists’ creative thought processes and the students’ creative activities also inspire the artists.

III. (Chapters 9?11) These chapters introduce practices aimed at achieving a deep understanding of other cultures and one’s own and others’ emotions through one’s physical body, and through theater workshops and scenario making, and discuss the ontological and epistemological transformation of human beings through theater.
 
What is the significance of incorporating art into education and research? The following five points emerge based on the content of the various chapters of this volume:
 
(1) Because art is a physical and sensory experience, it can reveal how we perceive ourselves, others, and the world around us.

(2) Creating and appreciating art is an experience unique to each individual. Therefore, rather than applying general theories to practice, we can incorporate individual experiences and ideas into education.

(3) Artistic expression is embodied in some way. Seeing what has taken shape may provide clues for reflecting on one’s feelings or may give rise to mutual inspiration through shared experiences.

(4) Artworks are imbued with history, culture, and social values. Through art, existing perspectives are questioned, and other cultures and other people can be better understood.

(5) Even goal-driven art practice does not turn out as intended. It is characterized by undefinedness, fluidity, and ambiguity. Thus, art education can suggest a new paradigm that differs from existing standardized education, while creative artistic thinking can also lead to intellectual techniques in uncertain times.
 
Writing this volume has brought new issues to light, such as how research that is divided into different artistic domains can be connected, how the quality of art-based education can be evaluated, and how art can not only be incorporated into various academic fields but also made to interact with each other. These points should be kept in mind during research activities promoted by the Art Center at the University of Tokyo in the future.
 

(Written by OKADA Takeshi, Professor, Graduate School of Education / 2024)