are able to tise that capacity may depend
on whether we have the opportunities to
develop it, Japanese students are
developed according to a much broader
understanding of mental and physical
capacity.”

For example, the study of calligraphy,
required throughout the grades, is seen as
much more than simply learning to
reproduce Japanese characters accurately,
According to John Erskine, who grew up in
Japan, calligraphy is “an art form that
Pequares CONCCHLTALON, COMpoOsure, and an
artistic sense of balance.” Similarly,
origin, the traditional Japanese art of
paper folding, is often taught to children in
the home before they attend school, They
learn aesthetic and spatial, as well as
mantial skills. “The narrowness of U.S
cducation may explain part of our
problem. The Japanese have a superior
education in design conceptualization,”
suvs Martin Engel,

Content of Arts and
Humanities Curriculum

Japan's central ministry of education
requires a stindardized national
curriculum, but permits adaptation by the
local school to student characteristics and
whirations. School is held six days a week.
All elementary children receive three
hours of aris instruction cieh week. In art,
children are taught drawing, painting, and
crilts, both traditional and modern
Hlomentary classes routinely go outdoors
with their drawing boards and paints to
study the drawing of flowers, aninvals, and
lindscapes. Elliot Eisner tells an anecdote
that Hustrates the seriousness with which
the Japanese approach art instruction. THe
saw al Class of children out painting on a
very hot day. The mothers of the children
were holding umbrellas over the childrens’
heads so they would be comfortable while
they worked

In music classes, children learn sight
singing, and many learn to play traditional
Japanese instruments or violin according to
the Suzuki methoo. Virtually all Japanese
hikiren can read music. But the purpose
A music instruction is not only to enable
students to make music; it is seen as a
means lo develop the intelligence.

Traditional Japanese literature, especially
poetry, is studied throughout the grades.
In addition, Chinese and American classics
are studied by all students. Shakespeare
and Whitman are required. As in U.S,
schools, students are required to write ina
variety of literary forms, especially poetry.
As Erskine says, “Poetry is a way of life in
Japan.” Japanese and world history are

 

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tequired of all students. Students of all
jges regularly go on required ficld trips to
fiapan’s cultural shrines ant temples to
reinforce theie learning of Japanese history
and culture, Morals ane ethics are infused
throughout the curriculum, and alter-
school discussion groups often focus on
ethical or literary topics.

Support from the Culture

“The culture supports aesthetics,” says
Elliot Eisner, “in homes and gardens, not
only of the wealthy, but of all Japanese
The tea ceremony is a prime example of a
situation constructed to cater both to the
spirit ancl the sensibilities” Herb Walberg
notes that the Japanese have not sacrificed
everything to economic progress. The
admiring of nature is a national passion
“There are days set aside for viewing the
moon, and times set aside for listening to
crickets,’ says Walberg.

The study of literature receives direct
support from the Emperor himself. Every
year, the Emperor of Japan participates in
the annual 44 syllable poem competition.
He not only awards the prizes, but writes
his own poem and reads it aloud.

Most observers of Japanese society note

 

 

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that social relations in that country are an
art form. With a dense populition, it was
essential to develop claborate structures,
rituals, and mores to provide order in the
midst of potential chaos. The strong ethical
and artistic component of public school
curriculum reinforces, and is reinforced
by, the overall sense of balince,
cooperation, and harmony,