著者
大沼 覚子
出版者
幼児教育史学会
雑誌
幼児教育史研究 (ISSN:18815049)
巻号頁・発行日
vol.2, pp.15-30, 2007-11-30 (Released:2018-03-27)
被引用文献数
1

In the Taisho period, Tsuchikawa Goro (1871-1947) criticized 'Yugi' of the Meiji Period, and proposed 'Ritsudo Yugi' (Rhythmic Play, namely Figure Marching) and 'Ritsudoteki Hyojo Yugi (Rhythmical Expressive Play, namely Singing Games). Through playing these new 'Yugi', he wanted children to experience what music and its rhythm expressed. The purpose of this paper is to reexamine the evaluation of Tsuchikawa in the previous researches and to show the historical meanings of his study on 'Yugi'. In order to achieve this goal, 1) I describe Tsuchikawa's activities and works to which have never been referred in the previous researches, 2) analyze his theories about 'Yugi', and 3) examine the relationship of Tsuchikawa to the Taisho and the beginnings of the Showa Period. As a result of this examination, several points thus become clear: First, Tsuchikawa played an important role in the process of building the concept of 'Yugi' or 'Oyugi'. That is to say, Tsuchikawa constructed new theories and created new works that opposed 'Yugi' of the Meiji Period. On the other hand, the popularization of Tsuchikawa's 'Yugi' and the confusion regarding 'Jido Buyo' (dances for children which usually use 'Doyo' as background music) reinforced the concept of 'Oyugi' as having a negative connotation. Moreover, Tsuchikawa insisted on the significance of the 'Education of Feeling', while in the Meiji Period the aim of education through 'Yugi' had inclined to gymnastics. The 'Education of Feeling' were greatly influenced by the New Education Movement and the Art Education Movement in the Taisho Period, and according to Tsuchikawa, this meant 1) a cultivation of aesthetic sentiment, 2) an experience with imagination of feelings expressed in 'Yugi', 3) an awareness of one's own body, and 4) genuinely enjoying 'Yugi'. I believe this is one of the important viewpoints to think about children's development of expression.