Presentations -

町を動かす[芸]術

YOKOYAMA CHIAKI

生知としてのデザイン―グローバルとローカル (武蔵野美術大学　新宿教室　新宿センタービル9階) , 

2011.02

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Oral presentation (invited, special), 基礎デザイン学会

第３９回九州英語教育学会鹿児島研究大会 シンポジウム「大学から見た英語教育の本質――『勉強』から『学び』へのカリキュラム転換に向けた小～大連携は可能か――」

YOKOYAMA CHIAKI

第３９回九州英語教育学会鹿児島研究大会 (鹿児島大学教養学部(郡元キャンパス)) , 

2010.12

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Oral presentation (invited, special), 九州英語教育学会

New Yokohama,New Face: Kotobuki District and its New Movement

YOKOYAMA CHIAKI

7th Conference of the International Committee for Design History and Design Studies "Design and Craft : a History of Convergences and Divergences" (Paleis der Academiën | Palais des Académies 1 Hertogstraat | rue Ducale 1000 Brussel-Bruxelles Belgium) , 

2010.09

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Oral presentation (general), The International Committee for Design History and Design Studies

The Academic Writing and Presentation Course as a Foundation for the Study of One’s Major: “Academic Skills” Course at Keio University

YOKOYAMA CHIAKI

International Conference in Commemoration of the 5th Foundation Anniversary of the University College, Sungkyunkwan University, Rhetorike Education as the Basis for General Education (The University College, Sungkyunkwan University, Seoul, Republic of Korea) , 

2010.05

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Oral presentation (invited, special), the University College, Sungkyunkwan University

Whitechapel Art Gallery: The Meaning of Art in the East End of London

YOKOYAMA CHIAKI

The 6th International Conference on Design History and Design Studies (大阪国際会議場・大阪大学中ノ島センター) , 

2008.10

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Oral presentation (general), 第6回デザイン史デザイン学国際会議実行委員会、大阪大学コミュニケーションデザイン・センター

「学際的科目の複合的教育への寄与―慶應義塾大学教養研究センターの事例をモデルとして」

YOKOYAMA CHIAKI

Needs for "Convergent Education" and its Outlook: New Task of University Education (ソウル、成均館大学校学部大学) , 

2008.05

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Oral presentation (invited, special), 成均館大学校学部大学

The Japanese Folkcrafts (Mingei) Movement and the Education of Female Factory Workers

YOKOYAMA CHIAKI

7th International Conference on the History of the Arts and Crafts Movement (Hotel Cumulus Olympia, Latinen Brahenkatu 2, 00510, Helsinki) , 

2007.09

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Oral presentation (general), Osaka University Center for the Study of Communication-Design, Finnish Federation of Settlements

Whitechapel and Art Education for the Working Class: Art Produced in the East End

YOKOYAMA CHIAKI

International Conferences Arts & Welfare (Gongju, South Korea) , 

2006.10

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Oral presentation (invited, special), Osaka University Center for the Study of Communication-Design

　View Summary

　Art education for the working class has been a part of the core activity of Toynbee Hall ever since the hall opened in the East End of London in 1884. Underpinning the Hall’s foundation lay the philosophy of John Ruskin that the experience of beauty creates beauty itself and the idea of William Morris that labour should go hand in hand with recreation. As the Hall’s prospectus reads, experiencing beauty was supposed to complement daily labour and to be essential for life.
C. R. Ashbee, who was one of the first residents of Toynbee Hall, was a main proponent of this aim. He taught a “drawing and decoration” class as well as reviewed Ruskin’s social writings in a reading class. He opened the Guild of Handicraft near the Hall in 1888 to inculcate and produce art in the East End. Although the movement had not been rooted in the East End, his aim was to be fulfilled in the course of educational activities in Whitechapel, creating a new art which gave a substantial impetus not only to London’s art scene but also to the world aesthetic movement.
This presentation traces the contents and influence of art education for the working class in Whitechapel during the end of the 19th century and the early 20th century.
The Art education of Toynbee Hall has been based on two main principles ever since its opening. One is to create opportunities for the working class to gain access to art works, and the other is to support and encourage the artistic activity of the working class. Many artists have also supported Toynbee Hall in those respects.
Concerning the first purpose, the first art exhibition, the St. Jude’s Picture Exhibition, was held as early as March 1885. Many exhibitions following that were distinguished by two points: works displayed were borrowed from individuals who agreed with the educational purposes of the Hall, which means that it was the Hall that chose and asked for first-class art works for the exhibitions. Another is that the art works could be educational only if visitors could connect them with their taste and daily experiences. Thus popular voting was encouraged at the exhibitions. Also the exhibitions were organized as a part of school education, and the system of school admission as well as of group leading by teachers were arranged in due course.
Toynbee Hall also supported recreational activities by local people. Artistic activity, which characterized the art education of the Hall, was one of those activities. The Toynbee Sketch Club, which was established in September 1895, was renamed the Toynbee Art Club in 1896, welcoming Alfred William Parsons, who was famous for his watercolors and was a member of Royal Academy, as the president of the Club. Consequently, this connection brought the Club closer to the West End art scene: Parsons improved the artistic skills of the members by giving advice on the individual works once a year and introducing the club members to his artist friends who helpe

Critical Thinkers: Enhancing Japanese Students' Experience of Lectures through Small-Group Seminars

YOKOYAMA CHIAKI

International Conference:Liberal Education in Korea: Challenges and Prospects (Seoul National University, Korea) , 

2005.04

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Oral presentation (invited, special)

Femininity and Masculinity in the Folkcrafts Movement

YOKOYAMA CHIAKI

International Conference ‘Japanese Women:Emerging from Subservience1868-1945’ (Edingburgh (Edingburgh University)) , 

2003.09

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Oral presentation (general)

脚の復権―ヴィクトリア朝における歩くこと・立つこと

YOKOYAMA CHIAKI

ヴィクトリア朝研究会 (東京　(成蹊大学）) , 

2002.09

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Oral presentation (general)

ジョセフ・メリックの左手

YOKOYAMA CHIAKI

身体医文化論研究会　ワークショップ (横浜（慶應義塾大学）) , 

2002.03

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Oral presentation (general)

In the Footsteps of Tolstoy: Mushanokohji Saneatsu and the New Village

YOKOYAMA CHIAKI

Ruskin Centenary Conference /Ruskin―Tolstoy―Gandhi;Dialogue through the Centuries (Moscow) , 

2000.09

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Oral presentation (general)

帝国主義と作られた性

YOKOYAMA CHIAKI

身体医文化論研究会 2000年度9月例会 (横浜（慶應義塾大学）) , 

2000.09

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Oral presentation (general)

Mingei and Community: from the Art of Seeing to the Art of Making

YOKOYAMA CHIAKI

International Symposium: 'John Ruskin: The Brantwood Years' at Lancaster University (Lancaster,England) , 

2000.07

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Oral presentation (general)

The Meaning of‘Growth’in William Morris's Pattern Design

YOKOYAMA CHIAKI

The 13th International Conference on Medievalism (Rochester/N.Y. (University of Rochester)) , 

1998.10

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Oral presentation (general)

From the Arts and Crafts to Japanese Folkcrafts Movement

YOKOYAMA CHIAKI

The 28th International Congress on Medieval Studies (Kalamazoo/Mich. (Western Michigan University)) , 

1993.05

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Oral presentation (general)

The Arts and Crafts Movement in England and in Japan:Soetsu Yanagi and the Mingei Movement

YOKOYAMA CHIAKI

The 26th International Congress on Medieval Studies (Kalamazoo/Mich. (Western Michigan University)) , 

1991.05

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Oral presentation (general)