Tokyo Bunka Kaikan

Workshop Workshop! 2020 on stage & legacy

Guidebook to the Art Activities
leading to Social Inclusion

Guidebook to the Art Activities
leading to Social Inclusion
Workshop Workshop! 2020 on stage & legacy

Tokyo Bunka Kaikan

3Introduction:

themselves and of the venues in which such expression is recognized, a rethinking of society’s image ofHow the creative, diverse, egalitarian, and collaborative nature ofart can create a new society

munity itself to include everyone.

“old age” and “disability”, and an improvement in local community building and the ability of the com-

This “Guidebook for arts activities leading to social inclusion” is a report on the implementation of“Workshop Workshop! 2020 on stage & legacy” in FY 2019. Above all, it aims to bring together theHere at Tokyo Bunka Kaikan, we aim to be “a theatre where many people gather and feel at home.” Inorder to fulfil our role as an artistic and cultural hub located in Tokyo, we are organizing and developing
a broad range of projects based on three core pillars: the professional development, the disseminationof learning opportunities for broader groups of people and the creation and the delivery of new performing arts. Various initiatives leading to social inclusion have been carried out under the umbrella of our“Workshop Workshop! 2020 on stage & legacy” project, which began in FY 2018 and aims to bring abouta pluralistic and inclusive society through art.
This project has as its mission to contribute to the promotion of the arts and culture in order to improve
the quality of people’s lives and bring about a harmonious and inclusive society, utilising the creative, cooperative, and participatory characteristics of art and confronting social issues. It approaches this task
from four different angles: “Training/ Inset”, “Practice”, “Validation”, and “Advocacy/ Dissemination.”content of the “Lectures and training for arts activities leading to social inclusion”, as well as to put intowords the practical knowledge which was not conveyed verbally: the ways in which the practitioners
look at the world, or their personal philosophies (what is important to them in their activities). Throughthese, we hope to consider the ways in which public cultural facilities such as ours should approach arts
activities with an awareness of social inclusion, and to rethink the value and meaning of such activities.
The links between the arts and inclusion:
creativity, diversity, equality, and collaboration
The arts come into being through the coexistence of the diverse personalities and methods of expression of their creators, the artists. In addition to “creativity”, this creative process includes “diversity”(accepting various things and people as expressions of their individuality), “equality” (treating everyone
the same), and “collaboration” with experts.

“Training / Inset”

The development of specialist human resources, such as music workshop
leaders and music facilitators, who can become a driving force behind
activities leading to social inclusion. The provision of opportunities to acquire
accurate knowledge.

“Practice”

The roll-out of a diversity of practice through partnerships with special needs
schools, facilities for senior citizens, social welfare facilities,“Validation”

opportunities to revise the meanings and values which it assigns to things. If this is so, art can surely
show us some ways to begin resolving or mitigating the various issues confronting contemporary society by making good use of its innovative, creative, egalitarian, and collaborative nature.
A theatre in which diverse values encounter one another

Validation of our activities and measurement of their effectiveness,in collaboration with universities and research agencies. Putting the meaning— acting as a catalyst for “coexistence”

The development of awareness-raising activities in order to create a sharedawareness of the issues in this area. The creation of spaces to share thecontents of validation and practice and to hold fruitful discussions.

Through these activities, we at Tokyo Bunka Kaikan are working to provide opportunities for all to participate in musical experiences, irrespective of physical ability or disability, or of differences in age, nationality, or social background; and to establish an environment where many people can play proactive rolesin the creation of new culture. We aim for our collaborations with specialist agencies to have a ripple
effect, leading to social change such as a pluralization of the methods by which people can express

4

tions and received ideas, aspiring to create new contexts. Put another way, art has provided society withlocal government, NPOs, and the private sector.

and value to society of arts activities leading to social inclusion into words.
“Advocacy / Dissemination”

If we look back over the recent history of the arts, our predecessors continually challenged past tradi-

Introduction How the creative, diverse, egalitarian, and collaborative nature of art can create a new society

Modern cultural institutions and venues are required to play the role of cultural hubs for the local community, where people form the bonds which enable them to live together – in other words, to function asa “public square / public space” in which diverse people come and go. Tokyo Bunka Kaikan and all “cultural institutions and venues” are places where people from different backgraounds come together tocreate new works and performances together with artists and support professionals for the performing
arts, who share their creativity, values, and skills. Further, through the performance of these dramatic ormusical works, they are also places for sharing creativity, collaboration, diversity, and equality broadly
with their audiences.
If cultural institutions and venues are places where diverse backgrounds and personalities are equallyrespected and can coexist, the social role played by theatres, specialist arts institutions, is surely sig-

Introduction How the creative, diverse, egalitarian, and collaborative nature of art can create a new society

5nificant. Opening those institutions and venues up to diverse people allows us to make suggestions to

In other words, in a workshop, through communication with others, we experience what “inclusivity”

society as a whole about activities leading to social inclusion. Is this not precisely the social role now

means: how to respect each individual and treat them with dignity, embracing each other’s diverse back-being demanded of cultural institutions, and especially of public venues?

grounds, personalities and differences. In this sense, we can determine that workshops are extremely

However, when carrying out arts activities leading to social inclusion, we must be aware not to impose

effective tools for the realisation of pluralistic and inclusive societies.

particular values on each other in the name of “inclusion”. We need to be aware that on the opposite face

In recent years, interest in and demand for activities with a focus on the inclusive aspect of the arts

of inclusion is exclusion.

has grown, as legislation relating to the arts and culture by and for disabled people and diversity also

The social model which we are now trying to associate with the term “social inclusion” is not an “inclu-

develops. On the other hand, even now, the majority of practitioners and arts professionals are still un-sion” in which something is incorporated into something else; rather, we could perhaps say that it issure about how to approach “social inclusion”, or how to assure the quality of these socially engaged

close to “mutual recognition”, in which multiple entities are treated equally.

activities. This guidebook aims not only to explore the social value of public cultural facilities, but also to

For example, all art creation and performance involves an interactive process. By working together with

provide support and encouragement to all the practitioners working on arts activities leading to social

others who possess different experiences and ways of thinking from ourselves, we experience bothinclusion in a variety of settings.

times when we are able to understand these others, and other times when we are unable to understandIt should be noted that “art” as used in this book is defined not only as the genre of fine art and visualthem. Looking at this from another angle, working together with others could be termed an act whicharts, but rather as the arts in a broad sense, including music, drama, dance, and other performing arts.

allows us to notice who we are and the boundaries which differentiate us from those others, and thus

Moreover, various specialist terms such as “facilitator”, “animator”, or “workshop leader” are in use toto rediscover our existence in the first-person singular. Mutually recognising the “gaps” and “differenc-

denote the expert personnel who lead the practice of music workshops or interactive programmes, butes” revealed by such processes, and treating each other with tolerance, allowing each other to remain

this publication terms them all as “workshop leaders” for the sake of convenience.

present just as we are (a form of social approval), is the nature of the “inclusion” for which this guidebook

I would like to thank Dr. NAKAMURA Mia for agreeing to supervise the compilation of this guidebook,

strives. In a society in which this kind of inclusive attitude has come to be taken for granted, the dignity

and YOSHINO Satsukifor acting as an advisor. I would also like to express my gratitude to every partic-

and independence of the individual will be assured, and its members will be able to coexist at just theipant and staff member of the facilities and groups who kindly cooperated with the implementation ofright distance from each other. This is surely the first step to “harmonious coexistence”.

“Workshop Workshop! 2020 on stage & legacy”.

Creating an environment in which all can play an active role increativity and expression
Together with special needs schools, facilities for senior citizens, social welfare groups, local governments, and other partners, Tokyo Bunka Kaikan has carried out particular programmes with people invarious situations: from infancy to old age, and from the general public to disabled people. The majorityof these arts activities leading to social inclusion take place in workshop format. The workshop process
requires time and effort, but it is one of the most effective means of stimulating dialogue, reaching mutual understanding in a specific context, and coming up with something new. In education studies, it
has been defined as “an exercise to build understanding of and consensus with others for the purpose ofcommunity-building (developing colleagues)” (KARIYADO Toshibumi, joint editor, “Workshop to Manabi (Workshops and learning)”, 2012, University of Tokyo Press). When we are in a particular group orcommunity, we tend to assume that all those around us think the same way we do. However, if we carryout workshops together with others, we often notice that people attach different interpretations andmeanings to the same experiences, and may change our own ways of thinking or the meanings which
we attach to things through these interactions with others. A workshop is a place for encountering ourselves through others, as well as a place where we create new meanings and values with others.

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Introduction How the creative, diverse, egalitarian, and collaborative nature of art can create a new society

March 2020
SUGIYAMA Yukiyo
Chief of Inclusion & Partnership Section
Tokyo Bunka Kaikan (Tokyo Metropolitan Festival Hall)
Tokyo Metropolitan Foundation for History and Culture

Introduction How the creative, diverse, egalitarian, and collaborative nature of art can create a new society

7

Contents

4

Introduction ｜ How the creative, diverse, egalitarian,51

2

The future of socially inclusive arts projects

and collaborative nature of art can create a new society—SUGIYAMA Yukiyo (Chief of Inclusion & Partnership Section, Tokyo Bunka Kaikan)

1052

Lecture summary ｜ Beginning social inclusion through the arts

Four keywords for reading this book

What is the potential of the arts as we aim for an inclusive society?

—NAKAMURA Mia, Ph.D.

—NAKAMURA Mia, Ph.D. (Sociology of Music and Arts/ Associate Professor, Faculty of Design, Kyushu University)(Sociology of Music and Arts/Associate Professor, Faculty of Design, Kyushu University)

58

Lecture summary ｜ The role of the arts in an aging society—KUSAKA Nahokoa, Ph.D.
(Psychology of Aging/ Professor, Faculty of Contemporary Social Studies, Doshisha Women’s College of Liberal Arts)

15

16

1

How Tokyo Bunka Kaikan approaches social inclusion

EXPERIENCE 01 ｜66

in a medical perspective
Music Therapy for Dementia

Let’s go on a musical and storytelling journey!

—Professor SATOH Masayuki, M.D./ Ph.D. (Tokyo Metropolitan Public University Corporation,

Multigenerational workshops with theBournemouth Symphony Orchestra

Advanced Institute of Industrial Technology, Department of Dementia and Neuropsychology)

74
26

Contribution ｜ Significanse and effect of senior citizen workshop

Contribution ｜ Significanse and effect of senior citizen workshop

in a sociological perspective
Possibilities of music: living well with dementia

EXPERIENCE 02 ｜ Listening to and participating in a performance“Musica Piccola” music workshop at a special needs school—HARA Mariko, Ph.D. (Researcher at Inland Norway University of Applied Sciences)

34

EXPERIENCE 03 ｜ Play with sound, talk together through sound“Sound sandpit”: a musical improvisation workshop at acare home for senior citizens
38

Commentary ｜ designing workshops to enhance social inclusion80

and inclusion
86—Ben JENNINGS (Participate Programme Manager, Bournemouth Symphony Orchestra)

SUGIYAMA Yukiyo (Chief of Inclusion & Partnership Section, Tokyo Bunka Kaikan)
Round table ｜ Cultural institutions and venues which everyone can call “home”

90

TSUTSUMI Yasuhiko (President, NPO Children meet Artists),

FUKUI Chizu (Chief of Educational Section, Tokyo Bunka Kaikan),
SUGIYAMA Yukiyo (Chief of Inclusion and Partnership Section, Tokyo Bunka Kaikan)

Contents

Round table ｜ Arts activities which aim to bring people alive—OGAWA Tomonori (President, NPO ST Spot Yokohama),—KAJI Naoko (Director of Planning and Production, Tokyo Bunka Kaikan),

8

Interview ｜ Aiming to meet people where they are andshare together with them at all stages of life

—NAKAMURA Mia, Ph.D. (Sociology of Music and Arts/ Associate Professor, Faculty of Design, Kyushu University),

42

Lecture summary ｜ Bournemouth Symphony Orchestra’s approach to diversity

YOSHINO Satsuki (Professor, Faculty of Letters, University of Aichi)

100

Tokyo Bunka Kaikan Workshop Workshop! 2020 on stage & legacy FY2019 Activity Records

103

Profile of authors / speakers

Contents

9Four keywords for reading this book2 | The arts and social welfare

NAKAMURA Mia, Ph.D.

•••(Sociology of Music and Arts/ Associate Professor, Faculty of Design, Kyushu University)

Some people may think that “inclusive arts projects” are second-rate. However, this wayof thinking is mistaken. Those socially engaged activities can be both first-rate and second-rate, in just the same way that not all classical music or contemporary dance is first-rate(or second-rate): there are always examples of each. Of course, some terms may commonly
1 | Social inclusion and arts activities•••“Diversity” is a term heard everywhere these days. “Unity in Diversity” is one of the core concepts of the Tokyo 2020 Olympic and Paralympic Games, with an emphasis on “affirming,
accepting as natural, and mutually accepting differences in all areas, including race, colour,
gender, sexual orientation, language, religion, politics, and presence or absence of disability”.
However, it appears that many people understand this “unity in diversity” as meaning accepting minorities as active members of a “society of the majority”. But even if minorities is
assimilated in such a way, “unity in diversity” will not instantly occur because as long as thesociety is regulated by the norms created by the majority, it will not necessarily be easy for
those minorities to accommodate themselves to these norms. Minorities will still be minorities, unable to conform to the standards of the majority.
When we think about “diversity”, we must not forget that distinctions between the majority and minorities on the basis of race, gender, presence or absence of disability, or othergrounds are not innate, but rather are divisions which we humans have created. Both those
who belong to the so-called majority and those who belong to so-called minorities are individuals with different personalities and strengths. Moreover, even the same person exhibits
different expressions and behaviours at work, at home, and with good friends. We humans

be used to describe first-rate art creation, such as “touching people’s hearts”, “challenging
values”, and “giving people strength to live”. However, there are a number of diverse means tothe same ends. This is precisely why the arts are the origin of creativity.
People who are familiar with the arts are sure to have experienced finding strength to live ora place where they feel at home as a result of creating or appreciating art. These experiences
can be both artistic and related to social welfare – it makes no sense to say that they haveto be either one or the other. After all, the reason that art has existed in the world for so longis because it is deeply connected to human lives. Expressing ourselves and communicatingwith others are essential in order for us to live as humans, and so the arts intrinsically have a
profound connection to social welfare.
Having said this, though, it is not always the case that arts activities give us strength to live.
For example, a classical music concert may be a blissful occasion for aficionados, but forpeople without an interest in classical music, it can be simply boring. Even if we say to themafter the concert, “Wasn’t that wonderful?” they do not know what was wonderful about it,
and just feel out of place. On the other hand, if classical music lovers were to go to a different
type of concert, they would probably feel left out in their turn. The arts lead all too easily to
exclusion. Ever since the dawn of history, music and all other performing arts have been tools
to unify ethnic groups, religions, and states; but at the same time, they have been used as
tools to separate friends from foes.

are all diverse and encompass various different aspects. Social inclusion is the term used to
advocate for the construction of a society which can embrace such diverse humans. It is not
the majority which plays the lead role in inclusion, but society as a whole.
In this context, “arts activities leading to social inclusion” are attracting attention for theirpotential to shake up the boundaries between minorities and the majority, and to create newcommunities.

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Four keywords for reading this book

Four keywords for reading this book11

3 | Problem-solving and value creation

4 | Cultural projects as examples of “Creating Shared Value”

•••

•••

What, then, is necessary for the arts and social welfare to coexist? It is perhaps for us to

Recently, CSV (Creating Shared Value) is attracting attention in corporate management cir-recognise that in artistic creation, there are no pre-existing answers as to what is correct andcles. The idea of CSR (Corporate Social Responsibility), that companies which have acquired

what is incorrect. We do not decide what is good or bad in advance; instead, we only makea large amount of profit should carry out activities beneficial to society in return, has existed

the rules in the process of creating the work. In other words, what we are really doing is cre-for a while; however, in recent years, the idea of CSV, which aims to make profit-generating

ating the values needed to evaluate a work at the same time as creating the work itself. This

activities simultaneously beneficial to society, is becoming more widespread. Its stated aim

is a big difference from mass-produced industrial goods, or entertainment which prioritises

is to make business activities a win-win proposition for both the companies and society.

economic profit.

Business activities originally began as means for people to live. Despite this, before anyone

In art, creation is born neither from the active state (“doing”) nor from the passive state (“having done to”), but from the “middle” state which lies in between the two. It appears when weare engrossed in something, when it is not clear whether we are trying to do something ourselves or whether someone else is causing us to do it. In other words, when we are released
from our positions and roles in society, new forms of expression are born from these “extraordinary” versions of ourselves. It is precisely because there are no fixed definitions of what isright or wrong that we experience a different state of mind from our usual one, allowing ourlatent potential to manifest itself. And in that moment, we become aware of the meaning of
our existence and of our abilities, things which were hitherto hidden from us, producing thestrength to live.

realised it, they came to exclude people, generating a need to rethink the nature of such activities. CSV was born in response to this.
The same is also true of cultural projects. The arts began as means for people to live. However, as they became increasingly specialised and radicalised, generating further culturalprojects became a goal before anyone realized what was happening. Public funding for cultural projects has even come to be understood as a “vested interest”. In this context, it has
become necessary to recover the original roles of the arts. One of these is perhaps inclusivearts activities.
Even musical or artistic works which are now said to be “masterpieces” were not so right

Of course, this may be something that happens only momentarily. However, people whofrom the outset. They came to be called “masterpieces” because someone thought that they

only know themselves as they have been oppressed by society, people who know who they

were important, and circulated them widely throughout society. Inclusive arts activities may

are when they are freed from that oppression, and people who feel that they can change thewell also come to be seen as valuable assets to our society by continuing to create newsituation according to their own attitude, approach life in different ways. Moreover, a positive

shared values through a process of repeated trial and error.

attitude also impacts the behaviour of those around.
Experienced artists and coordinators involved with inclusive arts projects in challenging settings do not set social welfare-related goals and aim to solve problems. Rather, by setting artistic goals, they aim to create value. By acting together with all the participants, rather thanunilaterally supporting them, they create a “space” in which participants gain the strength tolive for themselves, and can find a place in which they feel at home. They solve problems by

Bibliography

the creation of shared value.

• The Agency for Cultural Affairs & Kyushu University Joint Research Team, The (ed.).(2019), Social Inclusion through Culture andthe Arts: A Handbook for Beginners. Social Art Lab affiliated with the Faculty of Design, Kyushu University.
• Nakamura, M. (2019) “A Reconsideration of Co-creation in Arts Activities – Exploring the Links Between Creation andEmpowerment” in “Co-creation Studies” (Cocreationology. 1, pp. 31 – 38)

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Four keywords for reading this book

Four keywords for reading this book13

How Tokyo Bunka Kaikan
approaches social inclusion

1

Welcome to a place in which all people can enjoy music together!
In Part I, we introduce the ways in which we are carrying out inclusivearts activities.
The first half introduces the music workshops which take place at
special needs schools and day care facilities for senior citizens anddisabled people through words and pictures.
We hope that you will be able to experience for yourself theperformances by the workshop leaders, the responses of theparticipants, and the atmosphere of the venues.
The second half includes a commentary on the design of workshopswith social inclusion as an aim, as well as a round table with thePlanning and Production Division of Tokyo Bunka Kaikan where thestaff responsible for the development of workshop leaders and forworkshop planning and production talk about their work.

EXPERIENCE

01

Let’s go on a musical andstorytelling journey!

Multigenerational workshops with
the Bournemouth Symphony Orchestra

Opening music

their instruments as they walk among the seatedparticipants.

The participants gradually gather in the workshop

The workshop leaders hand small percussion in-venue: a room in “Asakusa Hourai”, a care facility

struments and wind chimes to participants to en-

run by Social welfare corporaition ‘Seihoukai’ . 70

courage them to join in the performance. The cir-people have been invited, including disabled peo-

cle of players expands to include the whole room,

ple and senior citizens who use this day-care fa-

creating a groove. In this relaxed atmosphere, thecility, as well as staff. Seating arrangements haveworkshop has begun.

been broadly decided in advance, with senior citizens on the left of the performers and disabled

Introduction of friends from the UK

people on their right.
As the facility’s staff and workshop leaders fromA Tokyo Bunka Kaikan staff member greets theTokyo Bunka Kaikan move ahead with prepara-

participants: “I’d like to introduce my friends fromtions, Hugh, Eddie (Edward), Emma, and Bena country a long way away. Please welcome thefrom the Bournemouth Symphony Orchestra en-musicians from the Bournemouth Symphony Or-

ter the room. They smile as they exchange greet-chestra in the UK!”

ings with the participants.

Hugh and the others smile and wave in responseto the applause and cheers from the participants.

Hugh moves towards the keyboard which has

The workshop leaders and trainees are intro-

been placed in the room and begins to improvise

duced next. One of the workshop leaders, Shiori,

a tune, sending forth a gentle melody. Emma andaddresses the participants.

Ben join in with Hugh’s keyboard music on theirviolins. Eddie picks up a djembe, and the workshop leaders also choose instruments: double
bass, melodeon, flute, violin, djembe... They play

16

How Tokyo Bunka Kaikan approaches social inclusion* Please see p.80 for more details about theBournemouth Symphony Orchestra

“I’d like us all to sing the Konnichiwa Song (“Hel-“Is there anyone who’d like to conduct?” asks Shi-lo Song”). This song has actually only just beenori.

written.”A disabled young man is chosen from among
those wHouraise their hands, and comes to take

Hello! Nice to meet you! Nice to meet you, too!

his place beside the musicians, to a round of applause. He waves the conductor’s baton as the

The lyrics are simple. Hugh plays the accordion,well-known Japanese folk song Furusato (“Home-

while Shiori beats out a rhythm on the cajón. A

town”) begins to play.

violin, maracas, and a flute join the music. As theparticipants clap along, Kana declares “Call andresponse!” inviting everyone to join in the song.
Most people start singing together with the musicians and workshop leaders.

That mountain where I used to chase rabbits;that river where I used to fish for little carp...
The participants start singing along spontane-

ously. Some of them gesture in imitation of the
conductor.

How wide the sea is, and how vast!
The moon rises, and the sun sets.

Setting off on a journey

Everyone starts to sing along with the violin. The

in newspaper boats

rhythm of the cajón alters to a slightly faster tempo. The scarves are also waved more vigorously.

“OK, then, let’s enjoy music together!” says Emi.

Hugh shows everyone a boat made from folded

As she starts speaking to the participants, shenewspaper, and Emi asks the participants, “Whatcups both hands around her ears and listens hard.

do you think this is?”The sound of the wind, waves, and the cries of“A boat!” they answer enthusiastically.

seagulls can be heard.

“We’d like to ride in a boat with you all. Can you

The workshop leaders and trainees hand small

help us to make boats?”

bells and other percussion instruments to theparticipants, along with scarves of various colours

The musicians hand newspaper to each of the– yellow, red, blue, orange, green...

participants, and Hugh shows them how to fold it.

“Let’s wave our scarves like the waves of the sea!”

If anyone struggles to fold the paper, Hugh imme-

says Tomoyo.

diately goes over to them and helps.

The venue is filled with brightly-coloured scarves

The other members also go to help the partici-

fluttering back and forth.

pants fold the paper.

EXPERIENCE 01 | Let’s go on a musical and storytelling journey!

19

“Our boats are ready!” says Emi. “So let’s set off on

asks Emi.

a journey together!”

One of the senior citizens suggests “the Hourai”

Emma starts to play a lilting tune on the violin.

(after the name of the welfare facility in which

Hugh and the others mime setting sail with thethe workshop took place. “Hourai” is the land of

paper boats, walking among the participants. Ed-

eternal youth in Chinese mythology), and this be-die beats the cajón, and others join in on their vi-

comes the boat’s name.

olins. Participants respond in various ways: some“I’d like to make up a song about the Hourai withhold their paper boats, while others sway to the

you all,” says Shiori. “Let’s start by thinking of somemusic. When the musicians stop, they break into

themes. What do you think of when I say ‘boat’?”a round of applause.

“A journey!”“The sea! That sounds good. There are moun-

mountains; a place with sea” several times, Shiori

tains, too. What kind of mountains?”

listens carefully to the melody.

“Steep mountains,” another older participant re-Someone carries the melody over to the next line,

plies.

“I want to eat good food...”“What do you want to do when you go on a jour-“What should we put next?” asks Shiori.

ney?”

One of the disabled participants sings “Hot“I want to eat good food,” replies one participant

springs are the be-est!”

enthusiastically, and there is a chorus of assent.

Once the melody has been completed, every-“Hot springs are the best!” calls out another par-one tries singing it right through from the start.

ticipant. “Hot springs are the best, aren’t they?”

The participants sing and clap along to the mu-“We’ve got the lyrics of the Hourai song,” says Shi-

sic played by Hugh and the others, or wave theirori. “So let’s put a tune to those lyrics.”

hands as if conducting, each enjoying in their own“Ste-ep mo-un-tains...” – a tune is set to theway the song which they made together. “Let’s

words. Hugh plays the melody on the accordion.

row the boat as we sing,” suggests Shiori.

One of the senior citizens sings the next line, “A

The participants begin to move their arms asplace with sea...” Shiori picks up the melody andthough rowing, watching Shiori and imitating her

sings back the line in a loud voice. Everyone sings

actions. When the song ends, there is a spontane-

the melody. As the participants repeat “Steepous round of applause from the participants.

Shiori points the microphone at the senior citizen
A song is created for the journeyand enquires about the destination of the journey.
“A place with sea.”“Let’s give our boat a name. What shall we call it?”20

How Tokyo Bunka Kaikan approaches social inclusion

21

“Mysterious things happen under the sea,” says

Shiori opens out the newspaper which she was

Shiori. “Water is quarrelling with water.”holding. There is a hole in the middle. She puts

“Water quarrels with water?” queries Emi.

the newspaper over her head to sit snugly on her“The water over here is sweet. The water overshoulders.

there is bitter,” replies Shiori.

“The boat has turned into a lifejacket!” she says.

One of the trainees picks up a melodeon and

All the participants also open out their newspa-

comes to the front. The melodeon plays thepers and put them over their heads.

tune of Hotaru (“Firefly”), in time with the“Let’s swim up to the surface!” Shiori calls.

rhythm of Eddie’s cajón. Hugh joins in on the

She encourages the participants with actions re-accordion, and Ben and Emma on their vi-

sembling breaststroke.

olins, as everyone starts to sing together:“You’ve nearly reached the shore,” says Emi.

Fire-, fire-, firefly, come.
The water over here is sweet.
The water over there is bitter.

The journey ends, and the group

way it is tossed by the stormy waves. Hugh andbegins to sing together

Eddie hand instruments to the participants andencourage them to join in the session. A sense of

The violin’s bow scrapes across the strings inoneness develops among the participants, withshort strokes, making scratchy noises: plink,some making an uproar, others beating drums,

plunk... “Listen carefully,” says Shiori. “What doand others clapping.

you think that sound is?”Shiori rips the paper boat.

The sounds of various other instruments being hit“The boat has hit a rock! Oh no! It’s damaged!”or rubbed join the chorus, which gets gradually

Cries of dismay arise from the participants. Hughlouder. “The rain is getting stronger. A storm is

rips the damaged boat, which is drifting among

approaching!” says Shiori.

the waves of the storm, even further.

A commotion arises in the venue in response to“Our boat has sunk! That’s the end of it…”

the sound of the rain, and Ben and Emma abruptly

Shiori mimes the sinking of the boat. The work-

begin to pluck their violin strings in a melody cal-shop leaders help the participants to tear theirculated to provoke unease.

newspaper boats in the same way.

Emi lifts a newspaper boat up high, miming the22

How Tokyo Bunka Kaikan approaches social inclusion

A cheer erupts from the participants.
“This is a white, sandy beach,” says Shiori. “Canyou hear a song coming from somewhere?”
The trainees, Emma, and Ben lead the playing ofHamabe no Uta (“Seashore song”) on their violins.
Voices gradually join in to form a chorus.

When I wander along the shore tomorrow,
I will reminisce about the past:
The sound of the wind, the drifting clouds;
the waves that wash up, and thecolours of the shells
A warm groove envelops the venue, and the participants break into spontaneous applause when
the song ends.
Singing the Sayonara Song togetherµ“We have come safely back to land,” says Shiori.
“It’s time to say goodbye.”
The music and singing of the Sayonara Song(“Goodbye Song”) begin.
Hugh, Eddie, Emma, and Ben start to sing as theyplay their instruments, moving among the participants. While singing, they shake hands with each
person to communicate their feelings of gratitude. Some of the participants have tears in theireyes as they express their gratitude in turn. The
four workshop leaders and the trainees also circulate among and exchange words with the participants as they sing and dance. The workshop hascome to an end.

Outline of the workshop[Date held] 26 November, 2019
[Venue] Social welfare corporaition ‘Seihoukai’ Asakusa Hourai[Participants] 70 people including disabled people, senior citizens, and staff[Visiting musicians] Hugh NANKIVELL, Edward HACKETT, Emma WELTON, and Ben JENNINGS from the Bournemouth Symphony Orchestra, UK
Tokyo Bunka Kaikan Workshop Leaders: ISONO Emi , SAKURAI Shiori , SAWADA Tomoyo , HIRAYAMA Kana , and four trainees

24

How Tokyo Bunka Kaikan approaches social inclusion

EXPERIENCE 01 | Let’s go on a musical and storytelling journey!

25

EXPERIENCE

02

Listening to and participating ina performance“Musica Piccola” music workshop at
a special needs school

The start of a music workshop in

Emi, a Tokyo Bunka Kaikan workshop leader

which anybody can participate

wearing Tyrolean traditional costume and a hatwith dolls on it, threads her way among the par-Today is a special day. It is the one day in the year

ticipants to the front, playing a flute as she goes.

when students who are unable to attend school

Tomi follows behind, wearing a colourful striped

every day due to illness or disability come and ex-

waistcoat and a beret, and waving to the children.

perience school life.

Emi says, “Welcome to Musica Piccola! I’d like us

Disabled young people, their parents and teach-to hold a concert here today.”ers gather in a classroom lit by gentle rays of sun-First comes an icebreaker. She raises and low-light. The participants sit or lie in wheelchairs as

ers her hands, touching her head, shoulders, andthey wait for the workshop to begin. Both expec-

knees. The children and young people loosen up

tation and a little unease about what is going tophysically and mentally as far as they are able,

happen in the workshop can be glimpsed in theirhelped by their parents and staff. “Maestro has

expressions.

come to conduct us all today!” says Emi.

Tokyo Bunka Kaikan staff walk among the stu-

Maestro, who is wearing a tuxedo, takes to thedents and their parents, talking to them as they dostage. After ceremoniously thanking Emi, heso, and checking their mental and physical states.

greets the participants in a deep voice like thatof a baron.

A few teachers hold up tablets. On the screens are“Greetings!” says Maestro. “My name is Maestro,the faces of children and young people who are in

and I am your conductor today.” The participants

hospital. They are participating in the workshop

applaud in welcome.

via video conference.
At the back of the classroom is a grand piano, and pic-

Tomi takes out some kind of large instrument andtures of the faces of musicians such as Bach, Mozart,

introduces it.

and Beethoven are stuck on the whiteboard beside it.

“This is called a double bass. It makes the lowest

26

How Tokyo Bunka Kaikan approaches social inclusionthis room into three groups: right, centre, and left.

“Yay!” suggests one of the children.

First, let’s all play our instruments together.”“Right, then.” says Maestro. “Let’s try it with ‘Yay!’

Various sounds are made all at once: shake, shake;

Here we go!”bang, bang; boom...

“One, two; one, two; one, two; yay!” everyone cho-

“Right; let’s have each group play in turn,” says

ruses.

Maestro.

“Finally, let’s try a faster tempo,” suggests Maes-First the group on the right, then the group in thetro.

centre, and finally the group on the left play their

A comical dynamic is produced, and smiles ap-

instruments.

pear on some of the children’s faces.

“Great! Now we’ll all start our performance,” says
Maestro. “Each shake your instruments twice,

Maestro points once more to a picture of a musi-starting with the group on the right, and continu-

cian which is stuck on the whiteboard.

ing in the same order. When the group on the left

“Next is this person: Johann Sebastian Bach. Let’s

has finished playing, let’s all shout ‘Ha-a!’”play his music together. Would any of the parents
or teachers like to join in?

Everyone begins to play, accompanying Haydn’ssound in the orchestra. It is the unsung hero.” As

Let’s play together while enjoying

she speaks, she draws the bow across the strings,

famous classical music

and a low booming sound reverberates throughthe room.

Maestro points to one of the pictures of the musicians stuck on the whiteboard.

Maestro tells the participants, “When we play to-“Franz Joseph Haydn,” he says. “Let’s all try play-gether as an orchestra, there are two rules that I

ing his Symphony No. 94, 2nd movement.”

want you all to keep. The first is to be sure to watch

He hands percussion instruments such as sleighthe conductor carefully as you play. The second isbells and tambourines, which make sounds whenthat in an orchestra, we do not play alone. Please

shaken or hit, to each of the children and young

join together in spirit with everyone here as you

people.

play. So let’s begin our fun concert!”

Maestro says, “I am going to divide everyone in

28

How Tokyo Bunka Kaikan approaches social inclusion

music.

Around ten people come to the front in response,“One, two; one, two; one, two; ha-a!” they all count.

and are handed chime bars. Maestro climbs down“OK, I’d like us to shout something else now,” says

low enough to face the parents and teachers, andMaestro. “Does anyone have any ideas?”signals to them with his conductor’s baton.

The clear and refreshing tones of the chime bars
ring out together.
“Right, let’s play!”
In response to Maestro’s conducting, Emi starts
to play a melody on the flute, and the parents andteachers play their chime bars. Tomi’s double
bass joins them. Some of the young participantsjoin in with the music, waving their hands in imitation of Maestro’s conducting.
The beautiful melody and peaceful sound of thechime bars fill the classroom. As the music diesaway, Maestro steps forward from among theperformers and takes a bow. When the performers also bow, the classroom breaks into a warm
round of applause.
Anyone can be a musician!
The joy of making music“Beethoven looks a bit scary, but he’s a kind person,” says Maestro. “The last piece I’d like us toplay together is Beethoven’s Symphony No. 9, 4th
movement (Ode to Joy).”Once again, all the participants are handed instruments. The classroom is filled with their sounds:
shake, shake; clink, clink.
“First, let’s play the rhythm,” says Maestro. “Beet!
Ho! Ven!” He claps his hands as he leads the participants.
“Beet! Ho! Ven! Beet! Ho! Ven!” they all repeat.
“OK, let’s pick up our instruments and play.”
The participants play their instruments to therhythm of “Beet! Ho! Ven!”: jingle, jingle; tap, tap.
Once everything is ready, Maestro sits down at
the piano. Emi takes over the conducting; when
she gives the signal, Tomi starts to play the overture on the double bass, and finally, Maestro plays

30

How Tokyo Bunka Kaikan approaches social inclusion

EXPERIENCE 02 | Listening to and participating in a performance31

the orchestra section on the piano. Emi calls outof “Ode to Joy”. Emi, who had been conducting,“Beet! Ho! Ven!” as if to mark the intervals in the

joins in the music on her flute. It becomes a large-

melody. The children, parents, and teachers shakescale performance. “Ode to Joy” reaches its cli-

their instruments at the same time, joining in withmax, and the performance comes to an end. A

the music.

round of applause erupts, and participants callout “Bravi, bravi!”“If you can sing, sing together with me,” says Emi.

Maestro, Emi, and Tomi shake hands with the

As she walks among the participants, she sings

young participants. They also greet those on vid-

and plays.

eo conference calls.

“Those of you taking part by video conference,“Thank you, everyone on the other side of the

can you join in with ‘Beet! Ho! Ven!’?”screen,” says Emi.

Some of the children and young people on the“All of us at Musica Piccola are looking forward to

screens wave their hands and move their bodies

seeing you again,” says Maestro.

in time.

The three take a deep bow. Another big round of

Finally, everyone joins in the playing and singing

applause brings the workshop to a close.

Outline of the workshop[Date held] 23 October, 2019
[Venue] Department of Education for Physically Impaired Persons and Home Schooling Support Team, Tokyo Metropolitan “Kita” School For
Special Needs Education[Participants] 23 of the most severely disabled students, from the first grade of elementary school to the third grade of senior high school, for whom
it is difficult to attend school daily; and 31 teachers and parents
Tokyo Bunka Kaikan Workshop Leaders: ISONO Emi (Emi), SAKURAI Shiori (Maestro), SAWADA Tomoyo (Tomi)

32

How Tokyo Bunka Kaikan approaches social inclusion

EXPERIENCE 02 | Listening to and participating in a performance

33

EXPERIENCE

03

Play with sound, talk together
through sound“Sound sandpit”: a musical improvisation
workshop at a care home for senior citizens

The moment in which “sound”

reach, and whether they produce an interesting

becomes “music”

sound when played together. Almost before anyone realises, this preparatory sound-check turns

A room in a private residential care home for sen-into a “sound sandpit”, and a workshop atmos-

ior citizens in Tokyo’s Adachi Ward.

phere fills the venue.

SUZUKI Jun, the musician and originator of the“Sound Sandpit” musical improvisation work-

As Suzuki and the others play with sound, theshops, moves ahead with the preparations, to-senior citizens who will participate in the work-

gether with three workshop leaders from Tokyo

shop get into the elevator together with staff ofBunka Kaikan and staff of the facility. Since

the facility and, one by one, gather in the room.

many of the senior citizens participating in the

They each point towards the instruments whichworkshop have limited mobility, a lot of thoughttake their fancy as they find seats - some sit down

is given to how to prevent them from becomingon vacant chairs of their own accord, while others

bored, and so chairs are arranged in an irregular

are in wheelchairs.

Suzuki adds an ad lib melody on the melodeon“Song” flows spontaneously

pattern around the venue. Musical instruments

Suzuki and the others chat with the participants,

to the rhythm generated by the participants. The

from people’s mouths

are placed on the chairs, within easy reach of thepicking up instruments and playing them fromworkshop leaders also follow along with the mel-participants. The musical instruments include

time to time. It is as if they are saying “Hello” withody on small glockenspiels and other instruments.

A faint voice can be heard starting to sing. Suzuki

small xylophones and glockenspiels, drums suchthe instruments. They do not encourage partici-

A few people pick up instruments and beat out

approaches the keyboard and improvises a har-as djembes and bongos, maracas and hand bells,

pants to play the instruments, nor teach them how

a rhythm in time with the melody. Before anyone

mony to accompany the rhythm being played bycastanets, miniature harps and ukuleles – allto play them correctly. They simply place a few

knows it, a series of simple “sounds” has turned

the participants and the tune of the song whichsmall enough that anyone can pick them up andinstruments nearby in an unobtrusive way, so that

into “music”. The playing continues for a while.

can just be heard. Some people stop playing theirplay them.

participants can pick them up if they are interest-

Some of the participants do not pick up any instru-

instruments, while others come out with lyrics at

Suzuki and the workshop leaders sit on theseed. At last, some hands start to reach for the instru-

ment, while others snooze; but no-one is bothered

the same time as they continue to play. It seems

chairs, picking up each instrument and playing it

ments, and sounds which are not yet music – clipby this. If they are present in the same space, theythat a medley of children’s songs has begun.

to check once more whether they are within easyclop, clonk, jingle jangle – start to ring out.

are considered to be participating in the session.

34

How Tokyo Bunka Kaikan approaches social inclusion

35

Musical improvisation workshops

What is the “Sound Sandpit”?
SUZUKI Jun

I lay out the instruments.
The participants come in one by one.
I keep an eye on what happens without taking the lead.
I don’t immediately invite them to do anything.
I consider that both those people who reach out to takean instrument and those who don’t are all already participating simply by being in the same space.
I simply wait, and listen attentively.
Various things gradually start to happen spontaneously.
Peer to peer relationships, without any hierarchy. Each
person is free to act of his or her own accord.
I create a safe space which assures these two elements.
Yamada no Kakashi (“Yamada’s scarecrow”),

change, becoming gradually more animated.

First of all, I get rid of all “symbolic will” which makes
me feel that I want to add something new, or that I
need to do something.
I trust the participants, and also myself.
I create a time which is freed from the fixed relationships and preconceptions of everyday life.

Ouma no Oyako (“The mare and her foal”), Yuyake
Koyake (“Sunset sky and afterglow”), Takibi (“Bon-

After singing quite a few old children’s songs, thefire”), Oshogatsu (“New Year’s Day”), Momotarosound naturally dies away, leaving behind gentle(“Momotaro”, the hero of a famous children’s sto-

reverberations. The “Sound Sandpit” began un-ry), Jugoya Otsukisan (“The moon on the fifteenth

prompted and ended quietly and unobtrusively.

night”, the time of the moon-viewing festival)...

A few of the participants remain in the room andFor elderly people, these nostalgic tunes are Lied-

continue friendly conversations with Suzuki ander. The senior citizens sing these songs to thethe workshop leaders, chatting not just aboutmusic that Suzuki and the workshop leaders play,

the playing and the songs, but joking about how

spontaneously creating a chorus. Even if they for-handsome one of the workshop leaders was. The

get the words from time to time, they seem nos-chatting continues amiably.

talgic as they sing. Their expressions perceptibly

Outline of the workshop[Date held] 29 November, 2019
[Venue] Live In Sakura private residential care home[Participants] 11 residents of the facility (including 5 in wheelchairs), 2 staff of the facility
Visiting musician and Tokyo Bunka Kaikan Workshop Leaders: SUZUKI Jun (musician), SAKURAI Shiori , SAWADA Tomoyo , YOSHIZAWA Nobutaka* The photos shown here are from the “Sound Sandpit” workshop held at the same facility on 20 December.

36

How Tokyo Bunka Kaikan approaches social inclusion

JUN SUZUKI
Keyboard player, composition.
He also has a long experience
working for children and elder
people with his unique “let-alone”
music making workshop,such as “Sound Playpit(Oto no Sunaba)” and “Athletic
Meeting of Sound”. Lecturer at Kyoto
Women’s University (Department ofPedology)
Contact at <info@suzukijun.com>
URL: suzukijun.com

The creation of a space in which everyone present – notonly the participants, but also the facilitator (artist),
staff of the facility, and observers – can be innocent,remembering that “It’s OK not to do anything”.
In this space, noticing the sensitivity of the power of
empathy which inherently lies dormant within eachone of us and the energy which existence itself possesses, we together observe and simultaneously experiencethat the origin of music is not a skill given to certain
specific people but a spontaneously occurring energy
phenomenon. We notice this phenomenon, which encompasses both us and objects.
And in the end, all the participants become creators.
Music is not a kind of decoration added to daily life,
but the crystallization of a co-creative relationship.

EXPERIENCE 03 | Play with sound, talk together through sound37

COMMENTARY

Designing workshops to enhancesocial inclusion

Bearing these points in mind, in the following section, we will explore the key aspects (the essence)
when designing workshops to enhance social inclusion, based on the “Professional training for musicians” delivered by Tokyo Bunka Kaikan, as well as on interviews with three artists who were invitedas instructors on this training.
ESSENCE 1 | Creating blank spaces— allow for the participants’ voluntary and spontaneous activities

NAKAMURA Mia, Ph.D. (Sociology of Music and Arts/ Associate Professor, Faculty of Design, Kyushu University)
SUGIYAMA Yukiyo (Chief of Inclusion & Partnership Section, Tokyo Bunka Kaikan)

Creating the blank space is more important to a workshop than anything else. It makes a big difference to the quality of participants’ workshop experience whether or not you are able to design anenvironment which allows them to feel that they want to take part.
When it comes to the physical aspects, we need to decide on an appropriate number of participantsTokyo Bunka Kaikan carries out workshops in which participants in a variety of circumstances can en-

and types of instrument to be used depending on the size (capacity) of the workshop venue. We also

gage with music in a proactive way, as introduced on pages 16–37. Having said this, though, the styles

need to pay attention to the lighting and temperature of the room. Moreover, if the participants haveand methods used for these workshops differ greatly. For example, the first workshop introduced, thelimited mobility, we need to take creative measures to ensure that several types of instrument areintergenerational workshop with the UK’s Bournemouth Symphony Orchestra, is of the “participatory

within arm’s reach. In addition, by adjusting the positions and combination of instruments before

theatre type”, in which the participants do not simply listen to music or join in with it, but also come toworkshops start, we can ensure that it will not be too noisy even if everyone plays their instruments at

feel that they are the principal characters in the tale of the boat journey. The second example, the “Mu-

once, and make it easier to produce a musically interesting sound.

sica Piccola” workshop at a special needs school, is of the “participatory mini concert type”, in which

As for the psychological aspects, it is important to “create the atmosphere” by playing music related toparticipants join in as they listen to famous pieces of classical music. The third example, the “Soundthe workshop, welcoming participants to the room. In fact, if participants are suddenly told “Let’s make

Sandpit” musical improvisation workshop, is of the “playing with sound type”, in which there is no pre-music!” in a setting which is completely unrelated to music, it is very difficult for them to get into thedetermined structure, and dialogue through sound arises in the course of touching the instruments.µmood. If workshop leaders begin the music first, and reach for instruments as they greet the people

It is also possible to classify these workshops on the basis of the types of relationship between thearriving in the venue, they can invite them to join in with musical activities without any pressure.

participants and the workshop leaders, however. According to Hugh NANKIVELL of the Bournemouth
Symphony Orchestra, workshops can be broadly divided into the “traffic light type” (the workshop

ESSENCE 2 | The two meanings of “play”

leaders direct participants what to do when), and “roundabout type” (the workshop leaders do not give

— performing, playing with sounddirections; each participant decides what to do when, while observing those around them). If we follow
this classification, the workshops with the Bournemouth Symphony Orchestra and Musica Piccola

When we hear “play” in connection with music, we probably think first of the meaning of “performing”.

were of the “traffic light type”, while the Sound Sandpit was of the “roundabout type”.

However, in addition, the meaning of “having fun using sound” is also important. For example, in one

However, irrespective of such differences, there are some points in common when considered from theactivity, a participant uses the conductor’s baton to conduct the other participants, as introduced on

perspective of workshop design. For example, the following process can be observed in any workshop.

page18. Although we call it “conducting”, the participants do not perform a set piece; rather, it is a“copycat game’ in which each participant spontaneously makes sounds as if in imitation of the con-

❶ Workshop leaders carry out in-depth preliminary meetings and preparations, and consider risk management.
❷ During the workshop, leaders ensure an environment in which participants can feel safe and express
themselves freely and at their own pace by showing respect for the participants and interacting withthem as equals.
❸ Workshop leaders attempt to new expression which builds on the musical expressions made by eachindividual, based on improvisational, flexible musical communication. However, the ideal they are
striving toward is to embrace each other’s diversity within a group, rather than assimilation of theindividual by the group as a whole.

38

How Tokyo Bunka Kaikan approaches social inclusion

ductor’s movements. The two meanings, “play = perform” and “play = have fun” come together, andthere is great excitement throughout the venue.
This conducting activity creates a situation in which those who are normally led (supported/ assisted)by others are placed in the leading role. When this happens, we may glimpse a facet of that person
which is not normally seen when they are being led. By inverting the situation in ways that would be
unthinkable in everyday life, “play = having fun” shakes up relationships which can tend to become
ossified, allowing people to alter their lives in fresh ways.

COMMENTARY | Designing workshops to enhance social inclusion

39

ESSENCE 3 | Facilitation

participants, who were supposed to be the audience, found themselves drawn into the story before— stimulate initiative, encourage inquiry

they realised it, as the fantasy grew to encompass them all. By constructing the entire workshop as asingle story, the workshop leaders invited the participants into an out-of-the-ordinary time and space,

When workshop leaders got carried away and start to play by themselves, Hugh NANKIVELL admon-

stirring up strong emotions as their creativity and imagination were stimulated.

ished them: “No, no, you mustn’t pull the participants along. You need to make them feel that theyMusic is able to create a distinct time and space within our everyday lives, providing unique experienc-

want to do something, not do it yourself.” Musicians tend to unconsciously take on the “performing

es there. Even within social welfare institutions, when the music of the sea starts playing, seascapesrole”, trying to get the participants to listen to them. However, in that case, there is no point in holding

come to mind and, people can feel as though they are on a boat in the ocean moving their bodies

a workshop.

like waves in time to the music. Moreover, skilful musicians have a unique ability to make the partic-

On the other hand, in the “Sound Sandpit”, whenever there was a participant who did not touch theipants feel excited even with a simple, repetitive rhythm. The members of Bournemouth Symphony

instruments, one of the leaders took an instrument which seemed likely to interest that person andOrchestra told us repeatedly that when they play, they do not simply turn the notes into sound; rather,played it nearby. This was because stimulating initiative was the priority. However, those who did notthey must breathe life into the sound.

want to play an instrument were not made to do so: being surrounded by sound is one form of musicalexperience.

—

One more important thing is to wait and be patient, without interfering with participants when theyIn this commentary, we have indicated the three processes which can be considered when designing

start to show an interest in something and are trying it out. Workshop leaders have a tendency to try toworkshops with an awareness of social inclusion, based on interviews with the instructors on the

stick to the plan which has been drawn up beforehand and to make things go as smoothly as possible.

workshops and training courses offered by Tokyo Bunka Kaikan, and looked in details at five essences

However, the process of trial and error is a fulfilling and enjoyable experience for participants. This trialof such workshop design.

and error by participants also allows workshop leaders to come to various realisations.

When hearing the term “music workshop”, some people may imagine content such as skills improvement in order to play musical pieces well, or the acquisition of knowledge in order to appreciate and

ESSENCE 4 | Once-in-a-lifetime opportunity

understand works of music. However, music contains both the aspect of “works”, compositions made— engage thoroughly with each individual participantfrom sound, and the aspect of the “activity” of producing those sounds. In a traditional context, musical activities have emphasised the aspect of “works.” The workshops featured here, however, aimed

ARAI Hideo, a dance artist and performer, places great importance on the process of engaging thor-

to empower the participants and energise their emotions by making use of the effects that “works” ofoughly with each individual participant. During the icebreaker, he observes each person’s reactions

music have on humans, while valuing the “activity” of producing sounds.

carefully, revising his plan for the day as he does so. For each activity, he carefully adjusts the level

We hope that this commentary helps you to deepen your insights with regard to the design of work-of difficulty, searching for means to allow the participants to join in with every activity in some form.

shops to enhance social inclusion and the skills and attitudes required of both practitioners and co-

The musician SUZUKI Jun of “Sound Sandpit” is also very thorough about the way in which he engages

ordinators.

with each individual through music. According to him, the ideal state for music is “a situation in which
each individual’s sound, while one part of a larger ensemble, is not overwhelmed by that ensemble.”
Hugh NANKIVELL, too, always goes round to shake hands with and greet each participant. His workshop began with the Konnichiwa Song (“Hello Song”), and ended with the Sayonara Song (“Goodbye
Song”), each composed for that day. “It is important to take time to create a new song for each groupof people you meet. A song which already exists is meaningless. Producing music which only exists ‘inthe moment’ makes the meeting precious and unique,” he says.
ESSENCE 5 | Out-of-the-ordinary nature

Bibliography— the creation of a unique time and space through music• The Agency for Cultural Affairs & Kyushu University Joint Research Team, The (ed.).( 2019), Social Inclusion through Culture and the Arts:
A Handbook for Beginners. Social Art Lab affiliated with the Faculty of Design, Kyushu University.

At the workshops by Bournemouth Symphony Orchestra (page16) and Musica Piccola (page26), the40

How Tokyo Bunka Kaikan approaches social inclusion• The Agency for Cultural Affairs & Kyushu University Joint Research Team, The(ed.).(2020). Social Inclusion through Culture and the Arts:
A Handbook for Evaluation. Social Art Lab affiliated with the Faculty of Design, Kyushu University.

COMMENTARY | Designing workshops to enhance social inclusion

41

ROUND TABLE

Cultural institutions and venues which
everyone can call “home”

Arts professionals working at Tokyo Bunka Kaikan talk about their
inclusive arts activities: how these started, including their encounter with “Casa da Música”,
and how they intend them to develop going forward
Moderator: NAKAMURA Mia, Ph.D. (Sociology of Music and Arts/ Associate Professor, Faculty of Design, Kyushu University)

KAJI Naoko (Director of Planning and Production, Tokyo Bunka Kaikan)
FUKUI Chizu (Chief of Educational Section, Tokyo Bunka Kaikan)
SUGIYAMA Yukiyo (Chief of Inclusion and Partnership Section, Tokyo Bunka Kaikan)

The encounter with Casa da Música
Nakamura

To be honest, I didn’t know that Tokyo
Bunka Kaikan had been rolling out so many inclusive
workshops and projects.

Kaji
When they hear “Tokyo Bunka Kaikan”, mostpeople probably have the impression of a grand venue where operas or ballets from all over the world arestaged almost every day. However, as a public cultural
facility, we also offer workshops and other activities
that are designed to be readily accessible to anyone,
not just our core audience of arts lovers and concert
goers. For example, the “Tokyo Bunka Kaikan Music Workshops” are a participatory-style music programme open to participants from babies to adults,
and are held every month. We currently have 32 different types of programme; many of them are extremely
popular and sell out.
Besides the music workshops held within Tokyo Bunka Kaikan itself, we also hold outreach workshops
where we go to education or social welfare facilities,
outreach concerts in which the young winners of the

42

Tokyo Music Competition bring music to schools
and other facilities, and outreach activities aiming at
regional revitalisation in partnership with regional cultural facilities.
When the Act on the Revitalization of Theatres,
Concert Halls, Etc. (commonly known as the Theatres Act) came into force in 2013, it was one of thetriggers prompting us to begin working hard on activities other than public performances, such as these. I
joined Tokyo Bunka Kaikan in 2011, and at that time,with the Theatres Act about to come into force, thenature of public theatres was being reconsidered. Thislaw defined the roles which theatres, concert halls,
cultural centres, cultural halls and the like should play,
and these included awareness-raising activities suchas outreach, as well as the development of projects
contributing to the local community. When we weresearching for what we at Tokyo Bunka Kaikan coulddo, Ms. Fukui introduced the Casa da Música (Houseof Music). This is a musical facility in Porto, a city inPortugal, and its education programme is renowned
throughout Europe and beyond. We decided that wewould like to invite members of the Casa da Música to

How Tokyo Bunka Kaikan approaches social inclusion

Tokyo Bunka Kaikan and develop our own education
programme while learning from their methodologies.
We contacted them right away, and an international
partnership with the Casa da Música began in 2013.
This was the starting point for the music workshops
we run today.
Nakamura

Ms. Fukui, how did you learn about theCasa da Música?

Fukui

When I was studying on the Master of Arts
Management course run by Italy’s Bocconi School ofManagement and La Scala in 2009, I went to observe
education programmes in various parts of Europe andNorth America, and that’s how I came across it.
I had heard the reputation of the Casa da Música, butwhen I saw it for myself, I was blown away by how
impressive it was. All the programmes provided people
with an experience akin to seeing opera in a theatre.
The aims and the contents of each programme were
carefully tailored to its target age range. The first programme I saw was one for babies and toddlers, andMusic Workshop by Casa da Música,“Baby Cricket”

there was a sense of happiness that everyone, fromsmall babies to their mothers, could “live” within themusic and its narrative. When the programme started, the musicians who served as workshop leaders andwho were wearing beautiful costumes invited the participants into their world, as though they were putting
on a show. Depending on the room, they also included
lighting effects, as if at a live performance venue. In
response to an invitation by the leaders, the participants naturally began to clap or to play with rhythmon simple instruments. The tunes which the leaders
created together with the participants were wonderful elements in inviting people into this world view.
They were not simple harmonies: while each fragmentof sound was simple, no two were identical. They followed one after another in unbroken succession, as if
looking at a kaleidoscope. I was deeply moved and told
them before returning to Japan that I would like towork with them someday, even though I did not knowwhether I would be able to keep that promise. Ms. Kaji
has told you the rest of the story.

group which rarely has the chance to come to a theatre.
As for the second point regarding the frequency ofworkshops, from 2019 we finally became able to holdone each month. We understood that if we didn’t holdworkshops at this sort of pace, they would not registeron the radar of the general public; however, at first,
we had very few staff, and so there were few workshops. There was a time when we were holding one
every three to four months. It was in the fourth yearof the programme that we were able to start going to
the places where the social inclusion of senior citizens
or disabled people was actually happening. Initially, we
asked members of the Casa da Música to take the lead;
the Japanese workshop leaders learned while assisting
them. Now, though, our leaders are able to go alone toplaces working with severely disabled people or thosewith dementia.
Music Workshop by Casa da Música,“Once upon a time”

The Casa da Música is also known worldwide forits elaborate architecture, the work of Rem Koolhaas.
Inside, in addition to concert halls, there are several
rooms which can be used for workshops; and as well
as regular musical concerts, workshops in which thecity’s residents can take part are held almost every day.
Families bring their children to the Casa da Música
on weekends, while classes from kindergarten to juniorhigh school level visit on weekdays. To us, these young
people appeared extremely lucky, but many countries
in the West do not include art or music classes in theirschool curriculums, and so the citizens come into contact with art by going to galleries or theatres. It makes
sense to me that the relationships between schools andtheatres would be close, in a different way from thosein Japan.
The development of workshop leadersNakamura

Música?

44

How did you partner with the Casa da

Fukui

They told us two things at the outset. The firstwas that it would not be effective for them simply tocome to Tokyo and hold workshops from time to time.
Instead, we should develop our own specialist music facilitators who would eventually be able to holdworkshops at Tokyo Bunka Kaikan without them – inother words, develop workshop leaders with musicalskills and facilitation ability. The second was that weshould aim to hold a workshop at Tokyo Bunka Kaikan every month as rapidly as possible.
We felt the same way as they did about the first point.
Japan and Portugal have different social and cultural
backgrounds, so we cannot hold workshops with exactly the same content. Furthermore, the foundations
and customs relating to music and the act of expression are also different, so we felt that we needed todevelop workshop leaders suited to Japan’s culture andsociety. We therefore launched the “Workshop Leader
Skills Training Programme” and started to train workshop leaders. We first aimed to hold a programme forchildren (from babies to elementary school students), a

How Tokyo Bunka Kaikan approaches social inclusion

Fukui

How did people who participated in Casada Música workshops in Japan respond?

Casa da Música workshops are constructed insuch a way that all the participants can take on a shareof responsibility for the activities and the process. For
example, if a person is seated in a wheelchair or is disabled, this is perceived as just one aspect of their individuality, and the activities are set up so that they can
become one piece in a large mosaic. Also, at the sametime as being workshop professionals, the leaders must
not lose the sense of being there as musicians.
The experience of creating one piece of music together – not just musicians, but ordinary people who met
each other for the first time that day – comes as a surprise even to people who have been playing music for
decades.

Kaji

Sugiyama

NakamuraKajifect of heightening concentration, and the participants
experience the process by which simple music comes
together as one piece. I think that this is due to therich musicianship and high-level skills of the Casa daMúsica workshop leaders.

There are a few different workshops run bymembers of the Casa da Música. Even programmesof just a few hours, such as “One Day Chorus”, for example, make an impression on the participants. Even
simple activities such as singing together while moving in time to the rhythm have an almost magical efCasa da Música
in Portugal©João Messias

Casa da Música music workshops place
great importance on the pure enjoyment of music, on
getting a taste of how enjoyable it is to play together, sothey do not try to impart musical knowledge or skills.
The leaders do not use the word “teach”; rather, theirstance is one of “Let’s do it together!” In the twen-Music Workshop “One Day Chorus” led by workshop
leaders of Casa da Música

ty-first century, “possessing information or knowledge”
no longer has the same value or meaning that it once
had, and the values of society are changing globally:for example, the core policy of the OECD (Organization for Economic Cooperation and Development)emphasises the degree to which people can make useof knowledge and skills to solve problems. In this context, I think that the comprehensive artistic approachof the Casa da Música, which focuses not just on music but on stimulating all five senses, is effective froman educational perspective and has a high degree ofaffinity with the nature of programme for which public cultural facilities like Tokyo Bunka Kaikan should
be aiming. Most of the performances held at Tokyo
Bunka Kaikan target elementary school students andabove. If pre-school children can readily come to thetheatre or concert hall with their parents, and feel that“coming to the theatre or to a concert is somethinginteresting and fun”, the habit of coming to the theatre
or concert hall will be instilled from a young age, and46

the cultural venue can become a part of their lives.
Kaji I think that the wonderful nature of music is due
not just to its high level of artistry, underpinned bytechnique, but also to the ways in which it generates
both inclusivity and diversity, and to the shared emotions arising from these. Specialist institutions such asconcert halls tend to focus their attention only on providing “high-quality works of music”, but I think thatboth aspects are needed in order to develop the ability
to understand great art.

The creation of inclusive arts activities
Nakamura

How are workshops at day care homes forsenior citizens or social welfare facilities put together?

Sugiyama

First, I visit the venue in my role as coordinator. It is impossible to plan an appropriate programme without actually seeing participants in their

How Tokyo Bunka Kaikan approaches social inclusion

everyday settings, their daily rhythms, and the environment in which the workshop will be held, andideally talking to the teachers or staff in charge. If it
is the first time for us to hold a workshop at the facility, school, or any other site, I do my best to visit atleast twice. At a special needs school, for example, I
visit when the students are going home, and observe
them intently from the entrance hall. There are manythings which I can learn just from observing how thestudents communicate with their teachers as they go
home, and the process until they get onto their buses.
I visit social welfare facilities institutions during thedaytime and observe their users and residents; I sometimes also chat with them if allowed.
I then have a meeting with the teachers or staff foraround an hour or a little less. I ask them in detail
not only about the current state of participants’ disabilities or illnesses, but also about the range of physicalmovement if this is restricted, whether or not they arereceiving medical care, the degree to which they areable to sit or stand, the degree to which they are able
to communicate verbally, whether or not there are any
people who are sensitive to sound, and whether there
are any sounds which are difficult for them. I would
also ask them about the typical content of music classes or recreational activities using music, music therapy activities, and the instruments and activity formats
with which they are familiar, as well as any rules orpolicies about activities which the school or facility has
in place. Knowing these things gives me a good insight
how to prepare an environment and programme which
will help participants to feel more at ease.
I share what I have learned from these meetings withthe workshop leaders straight away. Workshop leaders
would then decide on the general outline by a monthor so in advance of the workshop. Wherever possible,
I visit the school or facility again together with them,and we explain the content of the activities which weare planning and check whether there is anythingwhich is inappropriate or asking too much. By doing
so, we ensure that the teachers or staff have a concreteidea of what kind of support will be needed. This iswhat happens leading up to the day of the workshop.

NakamuraIs there anything about which you arecareful when you, as the coordinator, are creating the
programme?

Sugiyama

We are visiting as arts professionals, so
my priority is to ensure the quality of the programme
which we offer. Since the role of the coordinator is tocome up with the optimal solution, in dialogue withvarious stakeholders, I am always on the lookout for
any hints as to what this might be when I listen tothem. It is important to put in place an environment
which is completely satisfactory not only for the participants, but also for the teachers or staff, and so I
make sure to ask the reasons why they have invited us
for a music workshop. There was once a teacher who
felt that performing together would be difficult at a
special needs school for students with learning disabilities. This teacher was worried that if the students
were given instruments, they would just make whatever noises they wanted, and it would not come together
as music. The workshop leaders and I discussed about
her dilemma, and proposed a programme with manygroup activities. We let the students play together repeatedly as a group, following some simple rules, andincorporated solo opportunities for each participant sothat they would have a moment to express their individual musical ideas. The participants played instruments together as though it were a game, with rests
included, and little by little they naturally formed an
ensemble. That surprised the teacher. Such an ensemble performance seems difficult if we take a textbook
approach, but may be possible in a workshop setting.
Nakamura

When you say “a workshop setting”, howis this different from school?

Sugiyama

If we see school life as the everyday routine,then our music workshops can create a break from thiseveryday setting. This departure from everyday life
may highlight things which are usually unseen. When
we deliver music workshops as a part of our outreach,
we are often hosted within the context of a class; but
we do not have to evaluate the students, so it gives us

ROUND TABLE | Cultural institutions and venues which everyone can call “home”

47some leeway to devise a workshop programme, within a certain scope, and to interpret “music” in a broad
sense. By introducing a workshop method, we can create a situation in which participants move their hands
and this eventually becomes an ensemble, for example,
or activities which naturally generate communication
through music.
At the same time, we learn a lot from teachers and staff.
At one special needs school, the teachers made the following request: “Students’ self-esteem is extremely low,
so we would like our students to experience a senseof accomplishment and of the importance of making
repeated efforts through your workshop.” Ever since,
rather than doing different activities one after another,
we have become able to notice subtle fluctuations as
the participants acquire new skills through the repetition of similar activities.
The vision for the future
Nakamura

Please tell us your future vision for inclusive activities at Tokyo Bunka Kaikan.

Kaji

Tokyo Bunka Kaikan’s Music Education Programme is about to enter its tenth year, so we are coming to a new phase, for which we need new strategies.
At present, there are 16 workshop leaders. I think that
we need to open up further practical opportunities
for them. We have also started to be approached byregional theatres to dispatch staff as lecturers so thatthey can learn from our expertise, so I hope that we
can gradually broaden our reach within Tokyo to begin with, and eventually generate activity throughout
the country. We are in the process of expanding ourpartnerships in order to do so, and I would like us tostrengthen these further.
Moreover, Tokyo Bunka Kaikan will reach the 60th anniversary of its opening in 2021. Since the building
dates from sixty years ago, there are some difficult aspects when it comes to putting in a place a modern environment which is physically accessible to all. There isno elevator to the Main Hall, and there are many challenges in the way of installing one. Given this, we are48

now devising ways to use manpower to get round theseobstacles: we have special staff in place to enhanceaccessibility, e.g. conducting people to their seats bywheelchair if they so wish. These staff are included ineach annual budget. We believe that, even if there aresome difficult tangible aspects, enhancing manpower
and intangible aspects can make Tokyo Bunka Kaikan
more accessible to a broad range of people.
Fukui I talked at the beginning about observing various education programmes in the US and Europe.
When I was studying in Italy, I learned about El Sistema. El Sistema is a music education programmeaiming at social transformation which began in Venezuela. It protects children from poverty and crime,
bringing about positive social change. El Sistema had
a life-changing impact on me. I feel that the impact ofthat time has a direct connection to my sense of vocation to work at a public cultural institutions. Working
at a public cultural venue means serving the citizens.
Therefore, a venue must be able to provide a situation
or a place where all kinds of people can enjoy music.
My current plan is for a medium to long-term project
by our workshop leaders and disabled people. I hopethat this venue will become a place to which disabled
people can come.
We also need an approach to social issues within thelocal community. Attention is beginning to be paid to
middle-aged and elderly social recluses in Taito Ward,
where we are located. I am thinking about whether
we can create opportunities prompting them to leave
their homes.
Sugiyama
Great artists from around the world visit Tokyo Bunka Kaikan. In addition to these artists,
specialists in various fields including costume, stage
design, and technology come and go to realise creative productions on stage. For this very reason, I feelthat our inclusive programmes have to maintain thesame high standards, reflecting what is happening on
our stages. As a public cultural institution, it is important to be proactive in opening up our creative processes to society, so that this becomes a place which

How Tokyo Bunka Kaikan approaches social inclusion

Tokyo Bunka Kaikan Music Workshop “What’s in the
mysterious treasure box in the sea?” at a school for the deaf

anyone can visit and feel at home. Opportunities toshare experiences together in a single space and theprovision of an environment in which to do so are essential both for disabled people and for able-bodied
people, both for people who need social support andfor those who do not. Of course, a wide variety of careis needed depending on the particular disability, but itwould be great if this became nothing out of the ordinary, wouldn’t it? I hope that the increasing vitality ofvarious social inclusion activities using art around theworld will change society’s prejudice against disability
and the elderly, sparking movements which alter social norms, and taking us to a dimension in which theterm and concept of “social inclusion” are unnecessary.
I think this is what a pluralistic society in which everyone lives together will look like once art has brought
it into being.
At present, creation and performance are still seen as
the classic arts activities, while education and community programmes are often positioned on the fringes;
but if integrated practice which can overcome this di-vision were to be born, it would probably result in an
updating of the meaning and value of art itself, leading
to the emergence of more interesting artistic practice. I
think that such innovation would be meaningful bothto society and to art.

ROUND TABLE | Cultural institutions and venues which everyone can call “home”

49

The future of socially
inclusive arts projects

2

When we carry out inclusive arts activities, how can
we improve their quality?
We held lectures and training sessions with leading researchers,
practitioners and artists in FY 2019 to set out the points which
practitioners and designers of such activities ought to understand.
Part 2 is a summery of the contents of these sessions.
We focus in particular on the issue of an “aging society” which is now
confronting Japan, introducing specialist knowledge such as medical
and social science theories about aging societies, dementia,
and related issues, while also thinking about the potential roles which
the arts can play in society from now on.
We have also included a round table discussion between coordinatorsand others with experience of leading social inclusion projects in theperforming arts field.

Fig.1LECTURE SUMMARY

Beginning social inclusion
through the arts
What is the potential of the arts as we aim for an inclusive society?

Society excludes
the minority

NAKAMURA Mia, Ph.D.

Including the minority
into the majority(Sociology of Music and Arts/ Associate Professor, Faculty of Design, Kyushu University)

Inclusive society
embracing eachdiverse individual

In this way, the term “social inclusion” indicates a vision for society, and so
it needs to be translated into various different terms in the venues wherearts activities take place. For example, phrased in terms of relationships, weChanging consciousness and relationships

could say that diverse people build relationships which respect one anoth-through the arts

er’s differences. Expressed in terms of individual change, we could say thatmembers of minorities are empowered, while members of the majority experience a change in consciousness (see Fig.2)

I would like to talk about what “social inclusion through the arts” is, using“values” as a keyword and including some case studies.
There are various different values in society, but in general, they fall into theFig.2

three areas of law (systems), ethics (religion and morality), and economics(prices). In our everyday lives, we decide what is good and what is bad, whatto treat as important and what as unimportant, based on these values. In recent times, economic values are becoming particularly influential. According
to such economic values, disabled people, senior citizens, LGBT people, and

VisionIn terms of relationships…

In terms ofindividual change…

Members of society support one
another, rather than excluding
or isolating people based onmarkers of status.

Diverse people build
relationships which
acknowledge and accept
difference.

Members of minority groups
are empower ed; those of the
majority change theirperceptions.

others are seen as “unproductive”; but of course, it is not the case that thesepeople have no value.
In such circumstances, we need to generate values which exist in a different dimension from our social systems, ethics, or economy. The arts givea form to the value of things which we cherish, or things which have been
underestimated until now. They even challenge us to consider whether or not
the things which are generally considered “right” are actually right. The arts

Returning to the origins of art

enable us not only to create actual artworks, but to generate values through52

these.

How can we generate this kind of situation through arts activities in areas

What, then, does “social inclusion” mean? A majority is found in the centre

such as the fine arts, music, drama, or dance?

of society, and minorities around the peripheries, so you might think that it

The first point that I want to make clear is that inclusive arts activities aremeans including the minorities within the majority (see Fig.1). But in that

activities carried out together with people who may not be familiar with thecase, the values of the society will remain those of the majority, and the mi-arts. It is as though you were talking in Japanese with someone who does

norities continue to live a peripheral existence. Social inclusion does not

not understand the language. So what is important here is to return to themean including minorities within the majority; rather, it means that society

original elements of art, which are expression and communication. The issue

as a whole includes each diverse individual.

then becomes how to communicate as equals with someone who does not

The future of socially inclusive arts projects

LECTURE SUMMARY | Beginning social inclusion through the arts

53

hold the same assumptions as you do.
Let’s look at an actual case study. At Shobu Gakuen, a social welfare facility
in Kagoshima Prefecture, disabled people and staff have put together a music group called “otto&orabu”. “otto” refers to the orchestra, but comes fromthe fact that even when the members try to make sounds (oto) at the sametime, “Oops!” (“otto~!”), they are slightly out of step with one another. “orabu”
refers to the chorus, and comes from a word in the local Kagoshima dialect
meaning “to shout”.
The ensemble “otto&orabu” is founded on a unique value: “to prioritise thesenses of disabled people, rather than those of their carers”. Some of thestaff participating in “otto” have musical training, but if they play in sync, theconductor (FUKUMORI SHIN, the director of the facility) apparently scolds
them: “You’re playing together too perfectly!” This is because what is seen as
important here is to play genuinely and spontaneously. Disabled people aregood at this. On the other hand, staff of the facility are responsible for “orabu”,
and they all shout at the tops of their voices. In order to shout, they have to
break out of their shells. The staff are required to push their own limits, in thesame way that disabled people strive with all their might.
As I think you have already understood from what I have said so far, preconceived values about art can be the obstacle to inclusive arts activities. If I
begin from the standpoint of existing social values, then I become right andShobu Gakuen’s performancegroup, “otto&orabu”. Photoprovided by: Shobu Gakuen

is no resemblance between the sound and the object producing it, but we areable to associate the two based on past experience. The final term, “symbol”,

you become wrong: there is no way to move forward. So we need to return

refers to established rules, such as that when the bell rings, the class has

to expression and communication, and think about how to treat our partners

ended. The linguistic communication is mainly based on “symbols”; but inas equals.

non-verbal communication, such as takes place in the arts, “resemblance”
and “association” are important.

What is communication in art?

In traditional artistic genres, on the other hand, there are “conventions”, andexpression takes place in relation to these. There are three such patterns:

Let’s think again here about how humans communicate. It is generally“conventional” expression, which follows the rules existing within a particu-

thought that if I express something, I will unilaterally communicate it to thelar genre; “postconventional” expression, which deviates from convention;other person; but that is not how it works. When I express something, theand “preconventional” expression, which does not presuppose any conven-other person interprets it. Therefore, communication is not unilateral, buttion. Those who are familiar with the genre can understand conventional andbilateral.

unconventional expression. However, those who are unfamiliar with it canHow, then, is expression interpreted? According to semiotics, there are three

only understand pre-conventional expression, and have to rely on “resem-

classifications: “icon”, “index”, and “symbol”. For example, when we see theblance” and “association” as means of interpretation.

character for “mountain” (山 yama), we recognise it as “mountain” because

I said earlier that when carrying out inclusive arts activities, we have to do

it resembles the shape of a mountain; or a particular sound pattern sounds

away with the preconceived values of the genre and return to the origins oflike a bird’s call, so we recognize it as a bird. These are cases of “icon”. On theart, expression and communication: these are the reasons why we have toother hand, when we hear “nee naa, nee naa” and think of an ambulance, or

do so.

“whee oh, whee oh” and think of a police car, these are cases of “index”. There54

The future of socially inclusive arts projects

LECTURE SUMMARY | Beginning social inclusion through the arts

55

The three elements of arts activities resulting indren said during the breaks.

social inclusion

In these ways, “Sapporo Collective Orchestra” focused on risk management
to ensure a safe and secure environment, created a situation in which theArts activities resulting in social inclusion can be considered to contain thechildren could express themselves freely however they wanted and, based

following three elements. The first is a safe and secure environment. The

on this, created a space in which the expression produced by each person

second is a situation in which people can express themselves freely and at

mingled to create a new expression. We can consider these three elements

their own pace. The third is the creation of a space in which expression pro-

to be essential to the creation of a new set of shared values, along with a work

duced by each person mingles to create a new expression.

of art.

Let’s look at another actual example: “Sapporo Collective Orchestra”, which
What art can do for social inclusion

took to the stage at the Sapporo International Art Festival in 2017. Children
from elementary-school age to 18 took part in this project, which was spearheaded by the festival’s artistic director, Yoshihide Otomo. Anyone could par-I think that what art can do is to change people’s consciousness. For exam-

ticipate, regardless of their playing ability, so the orchestra brought together

ple, put an apple on a table and look hard at it. If you do so, you will realisea range of children, from young children with no experience of playing anthat its shape and colour are really interesting. The apple becomes an object

instrument to senior high school students who were good at music. They

for looking at as well as for eating, and so the meaning attached to the apple

included children who were struggling to find a place where they could bechanges. In the same way, by becoming aware of new aspects of yourself andthemselves at school, and children with learning disabilities; but at their con-others in the course of arts activities, your consciousness of yourself and ofcert, they all concentrated hard and came out with lively music improvised

others may change. You may become able to recognise the meaning of youron the spot. The policy of this orchestra was that adults simply created theown existence, and to notice the positive aspects of others.

framework; the children decided what kind of sound and texture to make.

Our lives are bound up in legal, ethical, and economic values. Art creates a

There were twenty workshops over two years, during which the children didplace where we are freed from these values. When we create things, play in-

not just practice music, but encountered various kinds of artistic expression

struments, or dance, at the same time as creating a work of art, we discoverand acquired the ability to express themselves spontaneously and while lis-

important values which usually tend to be forgotten, and give these a form. I

tening to the sounds around them. Moreover, during the concert itself, thebelieve that creating many such spaces is important to social inclusion.

goal was to produce music that was “alive”, and various ingenious methods

An inclusive society will not suddenly come into being just because we car-were employed towards that end. On the other hand, during the workshops,

ried out an arts activity. However, I would like to end my talk by recognising

Otomo and his managers took care to create an environment in which it wasthat without the accumulation of many such activities, we cannot move clos-fine for the children to run around, and to listen attentively to what the chil-er to a state of social inclusion.

“Sapporo Collective Orchestra”,
Sapporo International Art
Festival 2017
Photographer: KOMAKI
Yoshisato. Photo provided by:
Sapporo International Art Festival Executive Committee

Bibliography• Agency for Cultural Affairs & Kyushu University Joint Research Team, The (ed.). (2020). Social Inclusion Through Culture and the Arts:
A Handbook for Evaluation. Social Art Lab affiliated with the Faculty of Design, Kyushu University.
• Nakamura, M. (2018). “Words Used to Talk about Art and Society,” in Social Art Lab edited by Social Art Lab of Kyushu University.
Suiyosha, pp. 26 – 44.
• Stige, B. (2002). Culture-Centered Music Therapy. Barcelona Publishers.
• Turino, T. (2008). Music as Social Life: The Politics of Participation. University of Chicago Press.
* From the lecture “An introduction to Social Inclusion”, given as part of the Forum “Social Inclusion and Music in an Aged Society”,
held on 22 October, 2019. Edited and summarised based on the contents presented by NAKAMURA Mia.

LECTURE SUMMARY | Beginning social inclusion through the arts

57

dependent. And at the same time as their physical capacities decline, they

LECTURE SUMMARY

lose confidence within society and their self-respect lessens. In other words,

The role of the arts in an aging society

evaluating ourselves according to society’s values, standards set by others,causes us to lose self-respect.

What do we mean by the creativity of the arts, which generates values in
the inclusive society of the future?

When we receive public subsidies to disseminate arts activities in society,
we are required to produce evidence of the value of those activities. Moreover, the standards used to measure how “good” the activities are tend to be
KUSAKA Nahoko, Ph.D.

(Psychology of Aging/ Professor, Faculty of Contemporary Social Studies, Doshisha Women’s College of Liberal Arts)

established based on ideas of economic efficiency and productivity. However, there will always be some people to whom the standard “values of society”
do not apply. Many people are starting to realise that in a world which is becoming increasingly diverse, there are limitations to immediate goals basedon standard values. We could say that it is necessary to generate not goals

New values in an aging society

but higher-order values in order to bridge the broadening divides between
diverse positions and domains in contemporary society. But what exactly

I carry out research into people’s feelings, based on the psychology of elderly

does the creation of these new values look like? I would like us to think about

people. My lecture today is about “the role of the arts in an aging society”, andthis question from two different aspects of arts activities.

so I would like to introduce the “Wonderful Aging” project, in which participants create hope together for the future aging society.

“Independence” and “coexistence” generate creativity

In a society where medical care and technology are making continued pro-58

gress, senior citizens are placed outside this progress, and tend to become

In psychological terms, art, which involves a profound search inside oneself,“people to be looked after”. However, I believe that in order to continue tocan be said to be an extremely solitary and independent activity related todevelop throughout their lives, it is important for people to take the initiative

the dignity of the individual. However, this independence cannot function if

to be “people who create themselves”, whatever circumstances they may

there is only one person involved. It is precisely because of a recognition thatfind themselves in. “Create themselves” means a state of mind in which each

“I exist within society” that the dignity of the individual is established. Taking

person thinks about how to use new techniques and tools to achieve their

this into account, we can consider that arts activities include the two aspects

own particular goals, and tries to make changes. Creating goals for an as yetof “independence” and “coexistence within society”.

unseen future and thinking about how to get closer to them is an extremely

I would like to introduce a sushi roll-making workshop aimed at senior citizens

creative work of the mind. The thrill which we feel when we turn our thoughts

which we held in our local area as part of the “Wonderful Aging” project. Thisto the future and undertake a process of trial and error is connected to theworkshop attracts everyone from young people to adults, drawn together by

feeling that we are truly alive, and is healthy as a result.

their desire to eat delicious food, and they set to work in a single kitchen. As

In society nowadays, value is placed on remaining as independent and pro-they share the same ingredients and cook there, the people who were initially

ductive as we were when young, even as we age. However, when they con-acting separately gradually begin to pay attention to what others are doing,sider the question “If you could live forever, would you do so?” most people

and to get involved. Let’s say that someone starts doing something danger-

answer “No”. This is because they foresee that in the long-lived future, theous, for example. People who are used to working in the kitchen see what is

day will come when they will no longer be valuable according to society’s

going on and lend a hand. From this, we can tell the difference between “peo-criterion of physical independence.

ple who are good at participating in society” and “people who are not good

In a society which places the greatest value on economic efficiency andat participating in society” through the ways in which they turn their gaze to

productivity, many people are worried about what will happen when they

others. People who can fit straight into a new place look at their companions’age: how long they will be able to remain physically and economically in-hands. They take an interest in what the other people are doing, and begin to

The future of socially inclusive arts projects

LECTURE SUMMARY | The role of the arts in an aging society

59get involved with them in the form of finding ways to help their companions

Towards a new goal: the value of “sharing”

produce the results which they intend. On the other hand, people who are notgood at participating in society either do not take an interest in others or, if

As we have seen from the sushi roll workshop, a space where people coexist

they do, start by looking at their faces and saying “Hello”. When they do so,on the basis of independent activity produces a convivial state in which thecommunicating their own intentions to the other person takes precedence

participants take mutual pleasure in what they do together. What kinds ofand, if the other person does not show any interest in them, they end up alone.

thing would happen if we made this conviviality a project goal? I would like to

The same can be said when we carry out activities aiming at social inclusion.

introduce another part of the “Wonderful Aging” project, the “Shared Dining”

When we belong to a social group, we can feel the meaning of our presence

research and development initiative, which received public research funding.

there by turning our attention to our position within that group. It is important

Shared Dining proposes an eating environment which raises senior citizens’

to switch from someone who is being helped to someone who is helping;motivation to go shopping, cook, and eat through data utilisation. We have

while giving another person an opportunity to play the role of the one helping

made “food” the theme of the project because eating is one of humans’ fun-is also surely a reason for being there. Such relationships of mutual benefit, in

damental instincts, and so we believe that resolving the problem of eating

which we take turns to reach out and help each other, makes community ties

alone increases people’s motivation to live, leading to the prevention of frailty

stronger. And the act of creation mediates this kind of reciprocal engagement.

and dementia in old age.

There is nothing quite like the taste of food made together by people who

In August 2019, we opened a “Shared Dining” space in a shopping mall forcare about each other. The thinker Ivan ILLICH called the state of mutuala period of ten days, and held an event in which everyone made and ate riceenjoyment of the delicious food which we have made together “convivial”

balls together. This dining style, in which people did not make the food ac-(from the Latin con = with and vivere = to live), referring to the ideas devel-

cording to a recipe, but rather looked back over their histories of eating to

oped in his Tools For Conviviality (1974). From engaging with each other in

decide upon and make what others would enjoy, could be called Cooking

a way which is considerate of the other’s intentions in order to create some-for Conviviality. The rice balls which the participants made during these tenthing together comes hope for a future which we cannot yet see: “We can dodays with ingredients bought from the food shops in the mall were very var-

this! The food is sure to turn out delicious!” During this exciting experience,

ied, including some amusing ones which could hardly be called “rice balls”.

we take on new challenges, accepting mistakes and laughing about themIf making “rice balls just like the example shown” or “nutritionally correct rice

together, each coming up with ideas about how to make the food more de-balls” had been set as the goal of the Shared Dining, these interesting rice

licious. At the sushi roll workshop, the participants used their ingenuity toballs would probably never have come into being. The participants enjoyedmake extremely beautiful and delicious sushi with a sprinkled topping fromthe activity, which started with going shopping with 300 yen, as if it werethe leftover ingredients.

a game. They each chose ingredients according to their own goals: a person who was concerned about nutrition chose low-salt ingredients, another

Joint Attention

Coexistence

CONVIVIAL

Generating
creativity

who wanted to make an impact chose big ingredients like dried squid, whilesomeone who was most concerned about how their rice ball looked chosecolourful chocolates like M & M’s. Even when people bought ingredients
which could not usually be put into rice balls, they chopped or melted them

Independence

and mixed them in, and laughed together at the results, which were sometimes surprisingly tasty.
The feeling of joy activates people’s creativity and encourages them to takeon new challenges. We introduced technology in order to make the joy ofcreating together visible. We used AI to recognise the emotions in people’s
voices, with a system where the hearts projected onto the walls of the dining
room grew larger as people expressed more joy. The participants reacted to60

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LECTURE SUMMARY | The role of the arts in an aging society

61this, leading to interactions which increased this joy even further. By using

In order to experience what we need to do in order to generate sharing, we

technology to feed back this adaptive behaviour instantaneously, we wereare also researching the design of environments which result in sharing as

able to transform our activities to make them more adaptive. The data ob-

part of the Shared Dining project. For example, we made cutlery with longtained from this actual practice is being put to use in research and develop-

handles. Since the handles are too long, it is impossible for any single person

ment into the creation of new values in an aging society.

to eat using this cutlery. But people can get the food for each other. We areusing tools to bring about a joyful space where people allow each other to

The role of the arts in a culture of sharing

go first and thank each other in mutually beneficial relationships, and experiences in which the leeway to share arises naturally.

The psychologist Albert BANDURA wrote in “Self-efficacy: the Exercise of
Aiming for a society which accepts weakness

Control” (1997) that in order to obtain a reason for living, we need to shift ourattention from our current self-efficacy to a collective efficacy which transcends the self.

Long handled cutleries

An example of an interesting attempt to generate opportunities for shar-

We could also say that this means transforming our current society, which

ing is the “weak robot” developed by Japanese researcher Professor Michio

values what an individual can “get”, and where people pursue knowledge or

OKADA. This is a rubbish-collecting robot, but it simply stands next to theskills towards this end, into a sharing society in which people think aboutrubbish and shivers to elicit sympathy. As a result, even people who havewhat they can “give” to others. And I believe that what should be set as thenever picked up rubbish before feel that they have no choice but to dispose

goal is joy: in other words, things which are in some way “beautiful” andof the rubbish. We can say that the “weak robot” draws out people’s strengths“good”, as symbolised by the conviviality of which I spoke. Both Illich andby being weak. As we saw also with the long-handled cutlery and the “Won-Bandura reach a similar conclusion.

derful Aging” project, inconvenience and weakness can draw out strengthand generate sharing.
If we turn our gaze to our society, the existence of people dealing with weakness or inconvenience often draws out the kindness of those around them,giving someone a role to play in that space, and generating dialogue andConventional model of
medical careinteraction. I believe that it would be good if we could change our society into

Psychological model ofthe pursuit of happinessone in which we rejoice together by accepting this kind of weakness. I believethat the current role of art, which pursues beauty and joy, is to encourage a

GET

SHARE

Self-Interest

Shared Value

EatingHabitsHealthPrevention

transformation leading to this kind of society.
Means

EconomyEconomyHealthConviviality

Eating Habits
Accommodation
Accommodation

Finally, I would like to talk about my participation in music workshops forsenior citizens held by Tokyo Bunka Kaikan in order to collect data for validation.
There were some extremely active people among the participants in theseworkshops. They smiled as they moved in time to the rhythm and, in a sense,
they were model participants, so one’s attention was drawn immediately tothem. However, I paid attention to one of the participants behind them, who
did not move very much.
When I carried out a detailed validation after the workshop using video footage, I saw that at the moment when the piano began playing the folk song
Furusato, this person grasped the glockenspiel stick which she was holding

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LECTURE SUMMARY | The role of the arts in an aging society63

in her right hand firmly, squeezed her lips together tightly, and gazed at a

REPORT

single point. In comparison with the first, smiling participant, this seems toshow a decline in activity and an inability to adapt; but in fact, it became
clear at the end that the participant’s internal state was extremely active. As
the final part of the song approached, the participant suddenly struck theglockenspiel with the stick in her right hand, bringing the performance toa conclusion in time with the piano. The smile on this participant’s face atthat time was an expression of happiness of a higher order than the simple
enjoyment of pleasure (eudaimonia, εὐδαιμονία). Technology can be useful as

Validation of Tokyo Bunka Kaikan music workshops for senior citizens

Music improvisation workshops empower
people to develop hope about the future

a way of rendering visible such workings of the heart, which are difficult tosee from the outside. In my future research, I hope to think about how to use
technology in a supporting role in arts venues to aid the evaluation of the arts,
at the same time as promoting individual realisations and shared emotions.

As the need for music workshops for senior citizens has grown in recent years, expectations for more fulfilling program content have also risen. Therefore, in order toexamine the concrete methods related to the creation of a programme for senior citizens and the uniqueness of the programme, we carried out a validation of our music
workshops for senior citizens together with Dr. KUSAKA Nahoko (Professor, Facultyof Contemporary Social Studies, Doshisha Women’s College of Liberal Arts), a researcher specialising in the psychology of aging.
In FY 2018, we carried out a validation through participant observation of the “Sound
Sandpit” music improvisation workshops introduced on pages µ – µ. The validation
looked at communication through the activities of music workshops for senior citizens, and programme design for music workshops in which senior citizens become
creative agents. We analysed the non-verbal, non-structured activity of making musicin these music improvisation workshops from three different angles. The validation
results made it clear that, as an accepting environment in which there are no mistakes, music improvisation workshops give participants dignity as individuals, while
simultaneously functioning as a space for co-existence and acceptance of others. In
particular, the potential of the following three factors to “develop hope about the future among all generations, including senior citizens” was shown: (1) an environment
which stimulates the desire to create (2) interactions which encourage individual autonomy (3) the process of empathy towards the people with whom we co-exist.

[FY 2018 validation of music workshops for senior citizens]
A detailed report on this validation (in Japanese and English) andphotographs of the activities are available on our website:
https://www.t-bunka.jp/stage/2973/* From the lecture “The 100-year Life and Arts” given as part of the Forum “Social Inclusion and Music in an Aged Society”,
held on 22 October, 2019. Edited and summarised based on the contents presented by Dr. KUSAKA Nahoko.

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65

CONTRIBUTION

Professor SATOH Masayuki, M.D./ Ph.D.
(Tokyo Metropolitan Public University Corporation, Advanced Institute of Industrial Technology,
Department of Dementia and Neuropsychology)

Significanse and effect of senior citizen workshop in a medical perspective

Music Therapy for Dementia

tion and risk-control of dementia over the last few decades. Diabetes, middle age high-blood pressure,smoking, depression, low education and lack of exercise are risk factors of Alzheimer's disease. One
study estimates that by eliminating these 7 factors by 10-25%, 1.1~3 million dementia patients will
decrease (Barnes 2011). In short, the controllment of daily lifestyle including metabolic syndrome iseffective in preventing dementia.

Fig.1

1 | Definition and Category of Music Therapy

What is the ‘dementia’?

Dementia
Impairment of activity of daily livings (ADLs)

Amnesia +Impairment of daily livings

Music therapy was originally a means to care for wounded and mentally sick veterans of World War 2

Core symptoms

and developed mainly in North America. American Music Therapy Association states that music ther-Amnesia

apy is "the achievement of medical objectives to care, maintain or improve one's mental and physicalhealth by implementing music". As called "therapy", it is necessary to have a common understandingof the target symptoms, methodology, evaluation method and possible side effects. However at the

Fig.2

Dementia

moment, there is no such established methodology of music therapy for dementia.

Impairment ofdaily livings++

Music therapy is categorized into 2 groups -passive music therapy and active music therapy. The

Cognitive
dysfunction
Memory, orientation,
calculation,
executive function,
language ,reasoning,
visuospatial

former group is further divided into stimulative therapy and appreciative therapy. Stimulative therapy
targets decreased motivation and depression, using music as a stimulative factor to improve one's
mood or degree of alertness. Appreciative therapy uses emotions that arise from listening to music

BPSD

Behavior symptoms
Agitation, violence, crying, wandering,stereotypy, pica, bulimia, anorexia, insomnia
Psychological symptoms
Delusion, hallucination, misidentification,affective disorder(BPSD: Behavioral and Psychological Symptoms of Dementia)

Normal+as an opportunity to express one's emotions or look objectively at one's self through relaxation. On theother hand, active music therapy consists of playing musical instruments and singing. It is either con--

The core symptoms and BPSD . Generally speaking, the BPSD have nothing to do withthe severity of the core symptoms, but some symptoms of BPSD tends to easily appear
with the progression of core symptoms. Both of the core symptoms and BPSD become
the cause of the impairment of the activity of daily livings.

ducted alone, together with a therapist or in a larger group of people. Musical performance cultivatessocial skills and enhances one's physical and mental activity. Music therapy at site usually combines

3 | Definition and Symptoms of Dementia

these passive and active methods.
Many people connect dementia with forgetfulness. Although it is true that forgetfulness is the main
2 | Current Situation of Dementia

symptom of dementia, forgetfulness alone is actually amnesia and not dementia. An additional element is needed in order to diagnose dementia. What is that element? It is the presence of daily life

There are about 50 million people with dementia around the world today which is expected to be 130

obstacles. It is natural for an elderly person to forget a person or a subject's name or to frequently refermillion by 2050. In Japan alone, there are 5 million patients which is expected to be 7 million, or evento something as "this" or "that". This is often an aging phenomenon and does not necessarily act as

10 million by 2025. Although dementia is an urgent global issue, there are only a few countries which

an interference to daily life. When there is a clear disability in daily life or when it becomes difficult

take nation-level measures. As there is no disease-modifying therapy for dementia today, prevention

enough to say that aging is the reason for one's degraded daily performance can we say that the per-and stopping progression is valued including controllment of metabolic syndrome and non-pharma-

son has dementia [Figure 1].

cological therapy.

The symptoms of dementia are broadly divided into core symptoms and BPSD (behavioral and psy-

It was a common understanding in the past that the rate of dementia is growing in the world. The mainchological symptoms of dementia) [Figure 2]. One core symptom is cognitive dysfunction such as forget-

reason for this was longevity and westernized lifestyle. Entering 2010; however, many reports statedfulness. Executive dysfunction, such as lack of effective performance is another core symptom. BPSD,

that the rate of dementia has decreased. In England alone, the prevalence of dementia decreased byon the other hand, are behavioral and psychological symptoms. Wandering or violent behavior and lan-

1.8% over the 20 years of 1990 to 2010 (Matthews 2013). This indicates the positive outcome of educa-

guage are categorized as behavioral symptoms, while hallucinations and delusions are categorized as

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CONTRIBUTION | Music Therapy for Dementia

67psychological symptoms. BPSD was originally called as "peripheral symptoms" of dementia. However,light therapy and music therapy [Table 1]. Table 2 shows the advantages and disadvantages of non-phar-

BPSD often requires medical treatment and nursing of the patient as much as (or even more than) themacological therapy. According to the "Dementia Disease Treatment Guideline 2017" (The Japan

core symptoms. Also to prevent misunderstanding between doctors and caregivers of the significance

Neuroscience Society version), physical exercise therapy is the only non- pharmacological therapy

of BPSD, the word "BPSD" is used in Japan.

of dementia in which the effectiveness is confirmed. Physical exercise therapy is said to be effective
for preventing outbreak and progression of dementia for healthy elderly people and mild cognitive

Non-pharmacological therapies for dementia

Table 1

Therapy

Table 2

Advantages anddisadvantages of
non-pharmacologicalintervention

Contents

Characteristics

Physical
exercise

Aerobic exercise, walking

Established the evidence for primary andsecondary prevention of dementia.

Cognitive
stimulation

Playing games, drills

Patients with mild dementia who canunderstand the rules and procedures.

Life review,
Reminiscence

Talking about joyful
experiences using
photographs etc.

Stabilizes the psychological statesof patients by re-experiencing
successful things.

• Improves social living for patientsand caregivers.

Realityorientation

Placing many clocks andcalendars where patientscan easily see them

Provides notice of the possible worseningof the state of patients with severe
dementia who confuse the segregationof the past and present• Usually affordable.

Light therapy

Living in a room with1,000-2,000 luces.

Assists with sleep-induction after
lights-out in the evening.

• Low evidence, generally.

Music therapy

Active (singing, playing
instruments) and receptive(listening)

Established the evidence for prevention
and treatment of BPSD.

• The effects depend on the skillsof each instructor.

Diffusion of essential oils
derived from plants.

There are many private licenses.

Aroma
therapy

Advantages• Daily activities canbecome therapies.

• Can be performed bynon-medical staff.

Disadvantages• Unestablished methodologies(protocol, frequency, duration, etc.)• Low interests in the side-effects.
• Often not a therapy but a buisiness.
• No standard costs.
Can be very expensive.

BPSD: behavioral and psychological symptoms of dementia

Fig.3

impairment (MCI) patients. It is given Recommendation Grade 1 (Strong Recommendation) and Evidence Intensity B (Moderate Intensity). Aerobic exercise such as walking is effective while stretching
and calisthenics are not (Erickson 2011). The reason behind the effectiveness of physical exercise todementia is not yet definite; however, it is said that many factors surrounding nerve formation andprotection are related [Figure 3]. Although the necessary amount of exercise is also yet to be fully clear,based on the guideline of Alzheimer's disease prevention presented in the International Conferenceof Nutrition and Brain held in 2017, 40 minutes of fast-walking or an exercise equivalent to that 3
times a week is said to be effective (Barnard 2014). Needless to say, medical practice implements
methods that are most medically and scientifically proven of its effectiveness at the time. Therefore,
when questioned by dementia patients and their families of what could be done other than taking
medicine to prevent outbreak and stop progression of dementia, it would be medically correct toanswer "exercise and walking".
All other non- pharmacological therapy other than physical exercise therapy is graded Recommendation Grade 2 (Weak recommendation), Evidence Intensity C (Weak Intensity) or is indeterminable due
to lack of investigation. In the midst of this situation today, this guideline explains the effectivenessof music therapy to BPSD. Many intervention studies and meta analyses have reported the effectiveness of music therapy to the outbreak and prevention of BPSD over the last 10 years. The effectiveness of music therapy is close to being fully established.
5 | The Advantages and Disadvantages of Music Therapy for Dementia (Table 3)

Hypothesized mechanism of dementia prevention by physical exercise

The greatest advantage of music therapy is that it includes the many essences of non- pharmacological therapy [Figure 4]. Aerobic exercise is proven to prevent the outbreak and progression of dementia

Neuroplastic

Physical
exercise

Neurotrophic factors

Cerebral blood flow

Vasogenesis

Synaptogenesis

Cardiac function

Insulin-dependent energy metabolism
Neuroprotective

Inflammation

Improved
cognitivefunction

Deposition of abnormal protein

while singing is exactly one example of aerobic exercise. When singing, patients unconsciously analyze the pitch and tempo of music, sing along, judge whether his/her singing voice is in line with themusic and if not, that information is given back as feedback to make adjustments. This is in fact not
only aerobic exercise but cognitively challenging work. In this way singing can become a cognitive
function stimulation training. Furthermore, nostalgic songs are often used for music therapy sessions.
This is because by applying music when patients listened to when their life was most fullest in society
and at homes, patients are able to re-experience the positive emotions at that time. This is categorized

4 | Non-Pharmacological Therapy for Dementia

as reminiscence. In this way, singing unconsciously allows the practice of several therapies all at once.
This factor is the greatest benefit of music therapy. Moreover, music therapy exceeds in continuity asµµµAll therapies that do not use drugs are called non-pharmacological therapy which includes phys-

it is fun and easy to participate in. Since it is practiced in groups, it also contributes to maintain andical exercise therapy, cognitive stimulation therapy, reminiscence therapy, reality orientation training,

improve the patient's social skills.

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CONTRIBUTION | Music Therapy for Dementia

69

On the other hand, the greatest disadvantage of music therapy is its undetermined method. It is said

6 | Mihama-Kiho Projectthat "if there are 10 music therapists, there are 10 different methods". This explains how music therapy
may be an individual's masterly performance but not an organized method of treatment. Also, adap-

As mentioned above, the effectiveness of physical exercise therapy to dementia is proven. It is as-

tation and side effects are unconsidered. Some people assert that there are no side effects in music

sumed that it becomes more effective when combining physical exercise with other types of non-phar-therapy. When conducting statistical analysis of multiple examples like meta-analysis, the item for

macological therapy. There have been challenges to combine exercise therapy with cognitive stimula-side effects disappears without significant difference. However, side effects are a natural result oftion therapy, and it is reported that effectiveness increases when doing cognitive work like calculationintervention and it is important to consider the fact that there are cases where side effects do occur

while walking or exercising. If this is true, combining physical exercise therapy with music therapy

depending on the individual's state. Furthermore, qualifications for music therapists are institutional,

should be more effective to the cognitive function than doing physical exercise therapy alone. The

not national, and training is mainly done at musical colleges. The medical items necessary for obtain-

author did a cooperative research with Mie University, Mihama and Kiho city of Mie prefecture, andment is less than half of that needed for care managers' qualifications in the welfare field. This is why

Yamaha Music Research Center about non- pharmacological intervention of musical exercise object-

medical knowledge lacks in music therapists at the starting point and why reeducation at clinicaled to maintain and improve the cognitive function of elderly community-dwelling people (Mihama-Ki-

sites becomes important. By overcoming these disadvantages, music therapy has the chance to be

ho Project) (Satoh 2014). Musical exercise group conducted weekly exercise with musical accompa-

practiced more often.

niment (ExM group) and Exercise group conducted weekly exercise without musical accompaniment(Ex group). There was also the Control group which did no such an exercise (Cont group). As a result,

Table 3the ExM group showed more improvement in visual recognition and general intelligence than theSummary of the advantages and disadvantages of music therapy for dementia

other 2 groups[Figure 5, 6].
Moreover after following the change of brain volume over a year through MRI, the brain volume of Cont

Benefits• Effective for BPSD (especially for anxiety and agitation)• Easy participationgroup decreased from aging, while the frontal lobe of ExM group and Ex group has either maintained• Easy to maintain• Able to perform without patients feeling that it is training.

or grew larger in which the degree was even larger in the ExM group [Figure 7] (Mihama-Kiho Scan Pro-

• Able to maintain non-verbal communication abilities through the chorus and ensemble.

ject) (Tabei 2017). The project has revealed that musical exercise has positive effects on the brains of• Economically more affordable than other non-pharmacological interventions.

healthy elderly people both functionally and anatomically.

• Can perform multiple therapies at the same time (aerobic movements, reminiscence, and cognitive stimulation)

Furthermore, the author did a 6 month intervention of physical exercise with musical accompaniment

Limitations• Insufficient evidence around core symptoms.

to mild to moderate dementia patients and compared the changes of cognitive function and activities• Undetermined methodology (10 music therapists = 10 methodologies).

of daily livings (ADLs) to the Cognitive training group (Mihama-Kiho Project Part 2). Results showed• Lack of investigation pertaining to application, means of assessments, side effects, and contraindications.
• Music therapists lack medical knowledge.

the value of Functional Independence Measure (FIM), one of the indicators of ADLs, has significantly• The effects mainly depend on the individual skills of the music therapists.

dropped over the 6 months while it has remained the same in the ExM group [Figure 8] (Satoh 2017).

BPSD: behavioral and psychological symptoms of dementia

Furthermore, we divided the ExM group and Cognitive Training group into smaller groups of which
improvement was seen (Improvement group) and not seen (Non-improvement group) and comparedFig.4

the volume of the cerebral gray matter using voxel-based morphometry (VBM) of brain MRI. As a re-

Aerobic exercise

sult, the bilateral anterior cingulate gyrus of the Improvement group in the ExM group and the size of

Cognitive stimulation therapy

Singing→ Analyses of the pitch, tempo, and rhythm.
→ Singing in harmony with the accompaniment.
→ Listen to both own singing and the accompaniment.
→ Feedback the information and modify own singing.

Simultaneousand parallel

Listen to the accompaniment

the left frontal lobe of the Improvement group in the Cognitive training group was significantly larger
than the Non-improvement groups [Figure 9]. This means that the effect of non-pharmacological therapy
Multiple
effects

can be predicted depending on the presence or absence of the atrophy or impairment of frontal lobe
or its localization (Mihama-Kiho Scan Project Part 2) (Tabei 2018).

Reminiscence therapy

Nostalgic songs..

Songs to which the patient listen when he/she was themost active in society and at home.

The multifaceted effects of music are the most important merits of music therapy.

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CONTRIBUTION | Music Therapy for Dementia

71Fig.5

The result of intragroup analyses about
visuospatial function

Fig.7

The results of voxel-based
morphometry (VBM)(Tabei K, Front Aging Neurosci, 2017)15.0

p<0.001p<0.34

14.5
14.3

14.0

Grey matter volume: after > before the intervention

In today's world where the disease-modifying therapy for dementia does not exist, non-pharmacolog-Contsettings and regional communities. In the meanwhile, the evidence of non-pharmacological therapy

before14.5

p<0.00214.1

dementia. These methods are often neither poison nor medicine, but at the least bring economic loss

after

13.4
13.0

ExM

Ex

to consumers. With the current limitation of evidence being said, we must continue to provide what isboth right for our patients and medically reasonable.

Cont

Cont, control group; Ex, physical exercise group; ExM, physical exercise
with musical accompaniment group.
Fig.5

29.0

ical therapy including music therapy has the potential to play an important role in medical, welfare
excluding physical exercise therapy is still lacking. Mass media shows us groundless methods for

13.9

13.8

13.5

Conclusion

ExM

The result of intragroup analyses of Mini-Mental State
Examination (MMSE) about intellectual function
p<0.001p<0.073

p<0.782

28.9

Ex

before

28.5
28.4
28.0
27.8
27.2

27.1

after

27.8
27.5

Cluster level FWE p < 0.05

27.0

ExM

Ex

Cont

The abbreviations are the same as the Fig. 1.

The abbreviations are the same as the Fig. 1.

Fig.9

p<0.385113

p<0.048

before

113

113

after

beforebefore

after

110

110

after

109

ExM

ExM

• Erickson KI, Voss MW, Prakash RS, Basak C, Szabo A, Chaddock L, Kim JS, Heo S, Alves H, White SM, Wojcicki T, Mailey E, Vieira VJ, Martin SA,
Pence MB, Woods JA, McAuley E, Kramer AF: Exercise training increases size of hippocampus and improves memory.
PNAS 108(7): 3017-3022, 2011.
• Barnard ND, Bush AI, Ceccarelli A, Cooper J, de Jager CA, Erickson KI, Fraser G, Kesler S, Levin SM, Lucey B, Morris MC,
Squitti R: Dietary and lifestyle guidelines for the prevention of Alzheimer’s disease. Neurobiol Aging 2014; 35: S74-S78.

Cognitive
Training

Cognitive Training

The result of intragroup analyses of Functional Independence Measure(FIM) about activity of daily livings (ADLs). In 6 months, the score of the Cognitive Training group significantly worsened, while that of the ExM group
was preserved. ExM, physical exercise with musical accompaniment.

72• Livingston G, Sommerlad A, Orgeta V, Costafreda SG, Huntley J, Ames D, Ballard C, Banerjee S, Burns A, Cohen-Mansfield J, Cooper C, Fox N,
Gitlin LN, Howard R, Kales HC, Larson EB, Ritchie K, Rockwood K, Sampson EL, Samus Q, Schneider LS, Selbæk G, Teri L,
Mukadam N. Dementia prevention, intervention, and care. Lancet 390(10113): 2673-2734. 2017. doi: 10.1016/S0140-6736(17)31363-6.

112

112

• Matthews FE, Arthur A, Bames AL, Bond J, Jagger C, Robinson L, Brayne C. A two-decade comparison of prevalence of dementia in individuals
aged 65 years and older from three geographical areas of England: results of the Cognitive Function and Ageing Study I and II. Lancet,
382: 1405-12, 2013.
• Barnes DE, Yaffe K: The projected impact of risk factor reduction on Alzheimer’s disease prevalence. Lancet Neurol. 2011; 10: 819-828.
doi: 10.1016/S1474-4472(11)70072-2.

Fig.8
114

References

The results of VBM. The colored areas show the regions where
the grey matter volume at the baseline was significantly greater inthe subjects who improved than did not by the 6 months intervention . ExM, physical exercise with musical accompaniment, VBM,
voxel-based morphometry.

The future of socially inclusive arts projects• Satoh M. Ogawa J, Tokita T, Nakaguchi N, Nakao K, Kida H, Tomimoto H: The effects of physical exercise with music on cognitive function ofelderly people: Mihama-Kiho project. PLOS ONE, April 2014, Volume 9, Issue 4, e95230. doi:10.1371/journal.pone.0095230.
• Tabei K, Satoh M, Ogawa J, Tokita T, Nakaguchi N, Nakao K, Kida H, Tomimoto H: Physical exercise with music reduces gray and white matter loss
in the frontal cortex of elderly people: The Mihama-Kiho scan project. Front Aging Neurosci,. 07 June, 2017. Doi: 10.3389/fnagi.2017.00174.
• Satoh M, Ogawa J, Tomoko T, Nakaguchi N, Nakao K, Kida H, Tomimoto H: Physical exercise with music maintains activities of daily living inpatients with dementia: Miahama-Kiho project part 2. J Alzheimer Dis, 57: 85-96, 2017. DOI 10.3233/JAD-161217.µ• Tabei K, Satoh M, Ogawa J, Tokita T, Nakaguchi N, Nakao K, Kida H, Tomimoto H: Cognitive function and brain atrophy predict
non-pharmacological efficacy in dementia; The Mihama-Kiho scan project 2. Front Aging Neurosci. 10: 87. 2018. doi: 10.3389/fnagi.2018.00087.

CONTRIBUTION | Music Therapy for Dementia

73

an everyday resource for long-term care to improve the lives of people who are affected by dementia.
CONTRIBUTION

HARA Mariko, Ph.D.
(Researcher at Inland Norway University of Applied Sciences)Significanse and effect of senior citizen workshops in a sociological perspective

Possibilities of music: living well with dementia

Perspectives that are introduced in the recent interdisciplinary studies within the disciplines of musicsociology, music therapy and “music and health” are useful when we try to connect individual musicexperiences and care. For instance, one of the relevant music sociological perspectives considers our
everyday musical engagements – listening to music and performing - as a means for “self-care” inorder to maintain and promote own health [*3]. A sociological concept of “musical affordance” is developed further in relation to music and care of the self:
Music's role as a resource for configuring emotional and embodied agency is not one that can be predeter-

1 | Introduction

mined (because it is a resource that must be appropriated by music consumers). Music is not an objective‘force’ or a ‘stimulus’, but it is real in its effects and its specific properties provide mechanisms for achieving

Already the current global count of people who are suffering from dementia is approximately 50 million,

those effects (DeNora 2000, p.107).

which is predicted to triple by 2050. It is, therefore, indispensable to treat dementia care as a high-priority issue to be considered internationally rather than limiting it to domestic discussions. As it has

The concept of “musical affordance” allows us to consider how music can lend itself to various effects,

already been described on page68 in this guidebook, there are behavioural and psychological symp-

depending on how it is coupled with other objects, practices, places, people, and interpretations [*4]. For

toms of dementia (BPSD) as well as cognitive symptoms. These symptoms usually progress gradually

example, we may sing school songs at the alumni meeting, where we meet old schoolmates with gradu-

and affect lives of people diagnosed with dementia and their family members to a great degree. As ex-ation photos in hands, while reminiscing about our former school days. This perhaps enhances the sensepressed in the phrase “long goodbye”, there is a gradual process of your loved ones losing memories

of solidarity as alumni. In the karaoke bar, we may sing and dance to hit songs, while holding microphones

and becoming almost “strangers” who hardly recognize their surroundings. This creates a prolonged

with colleagues to relieve stress after long day at work. At the funerals of loved ones, the funeral music may

caring burden, both physically and mentally, for family members. As the number of dementia patients

help us to mourn the death of the deceased and release our emotions together with other family members.

who are cared for at home is predicted to increase, it is important to think of “dementia care” in the long

Therefore the concept of “musical affordance” implies that the acoustic properties of music (rhythm,

term in order to support everyday lives of people affected by dementia in a sustainable manner.

tempo, melody, lyrics) give various effects to our emotional and corporeal status depending on how[*1]they are coupled with other factors; “places” (e.g., alumni meeting place, karaoke bar and funeral
2 | Using music in dementia care: Why sociological perspectives are necessary?

home), “objects” (e.g., photos, microphones),” people” (e.g., old school mates, colleagues and family
members) and “interpretations” of the music which varies from person to person. The sociologicalIn recent years, there is a growing interest in music uses as a part of non-pharmacological interven-

perspective to see our everyday musical engagement as a means for “self-care” as well as the concept

tions to improve the quality of life for individuals with dementia. The most visible disciplines of thisof “musical affordance” help us to regard music, not as a “magic bullet” or “miracle-making magic” toare neurosciences, care study and music therapy. The effects of music use in dementia care – such as

fix the symptom instantly, but as a possible “resource” for dementia care to offer positive effects to aenhancing mutual communication, evoking memories, calming agitations and improving mental sta-

person’s emotional and corporeal status while being coupled with other various factors.

tus, reconfiguring relationship between people with dementia and their caregivers - have been studied

These sociological perspectives and concepts allow us to see the musical engagement of people withthrough various approaches

dementia, even though they may appear to be receptive (e.g., listening to music quietly), as a proactive. Although these studies have contributed to the development of music[*2]

uses in dementia care, the music uses have often been discussed without linking them to everyday

action in which dementia patients use music for their own mental and physical self-care.

contexts of people with dementia who are participants of these studies. In the mass media, the powerof music in dementia care is often narrated dramatically as a “magic bullet” and “miracle-making magic”
to fix the symptoms instantly. As individual music experiences are deeply rooted with past experiences

3 | Singing-based musical activity for individuals with dementia andtheir caregivers in the UK (“Singing for the Brain”)

and environments where they are situated, the effects of music are hard to generalize with such simple
causal manners. They should not, in other words, be romanticized as “always good things”. If we take3 - 1 | About the musical activity

the long-term dementia caring process (long goodbye) into account as mentioned earlier, more in-depth

From 2008 to 2011 in the United Kingdom, I participated in the singing-based musical activity, called

and careful investigations are necessary in order to investigate if music has possibilities to become“Singing for the Brain” (SftB). I participated as a music sociology researcher, observing how individ-

74

The future of socially inclusive arts projects

CONTRIBUTION | Possibilities of music: living well with dementia

75

uals and groups engaged music materials and their resulting affordances. [*5] The SftB activity wasorganized once per week for local people with dementia, who are cared by family members at home,
and their caregivers (partners, friends and care worker). The number of the participants varied fromsession to session but approximately 10 participants with dementia, their caregivers and 10 volunteers
attended each session. Every session was led by a former music teacher and most of the volunteer

Fig.1

Facilitator

Voluntears
Dementia
participants

Keyboard

caregivers

members, including the facilitator, had experiences of caring for family members with dementia, either
their parents or partners, and participated in the SftB session as volunteer musicians along with otherlocal music engagements, such as local choirs and theatre groups. Songs used for the session varied
from session to session, but they were chosen from SftB’s original songbook, which consisted of songs
that were familiar to the participant generation who were born around 1930-1940 (aged 70s to 80s

Tea and
BiscuitsDoor

at the time of study) as well as songs requested by the participants. Each session followed the basic
structure as follows:

Reception

1. Hello song

facilitator calls out each participant’s name while everyone sings“Hello Song” together

2. Physical warm-up

vocal exercises, word games and simple physical exercises

3. Familiar waltz tunes

singing three familiar songs in triple time, that are familiar to the participants
and appropriate for the season. The facilitator leads the union singing
while accompanying with the keyboard.

4. Song activities

round songs, singing in harmony (two, or three choruses), call and response

5. Song intro quiz

it follows a similar theme (e.g., “spring”, “animal” and “fruit”) to the earlier songs [*6].

6. Song with movement

familiar and easy dance. Those who have difficulties dancing remainin the seat and join in the activity by singing and playing percussions

7. “Shalom” (good-bye song)“Shalom”, Israeli folk song [*7], is always sung at the end of the session,
first with words and then with humming

Participants are waiting for the musical activity to begin while havingtea. It was a pre-Easter activity, with each individual marched witha gaily decorated Easter hat while singing the theme song from the1948 American film “Easter Parade” (an Easter tradition that began in
the late 19th century in the United States and later spread to Europe
and continues to this day).

and volunteer members who loved music, and had caring experiences, supported the progress of themusic program. This makes the symptoms of dementia less noticeable, which allowed the accompanying caregivers to feel relaxed. In this way, boundaries between the supporters and those being supported were loosened. As a result, an inclusive space was generated where participants with dementia
could continue singing in a safe and joyful ways. This also allowed them and their caregivers to remain
connected with the surrounding world.
3 - 3 | Rekindling the relationship

When “I'll be your sweetheart” was sung at SftB one day, Simon and Hannah looked at each other andput their hands on each other's shoulders. Simon's wife, who was also a caregiver of Simon, was intears. “I'll be your sweetheart” was the theme song for a 1945 musical and it was a familiar song to bothof them when they were in their late teens. At the interview which was conducted at their home, Simon3 - 2 | An inclusive space to retain connections with the surrounding worldand Hannah sang this song together as they talked about how they met, their honeymoon years andAs “social isolation” is regarded as one of the issues in dementia caring, the majority of SftB partic-

their married life. Singing the familiar song together brought back memories of that time and allowed

ipants also withdrew from community activities, such as music and sports, in which they had previ-them to relive their lives before the onset of Simon’s dementia.

ously engaged due to dementia symptoms and caring for their loved ones. They were looking for an

Caroline was very quiet, but she sometimes sang a completely different part of the song during thealternative space and activity in which they could feel safe to participate. Some couples had difficulties

song activity, which often made people laugh. At the interview, her daughter Lisa said, "When mum

attending the “dementia café”, which was intended to be an information exchange, because they felt

makes me laugh, it is quite touching. This is when I meet old mum”. (...) Those moments are very im-pressured to interact with other participants. Some participants had to give up on participating in the

portant for me”. Participants in SftB were therefore not only able to take a break from an everyday life

community choir because they could no longer sing difficult classical pieces due to the symptoms.

laced with confusion but also, they were able to rekindle their respective relationships between the

However, they were able to in SftB sessions. Because the content of the activities, along with the songs

husband-wife and mother-daughter through the singing activities.

used, took into account the capabilities of the dementia participants, they were able to participate
effortlessly by singing, dancing, clapping, listening, or even nodding off, depending on their moods and3 - 4 | Regaining confidence

physical conditions on that day. In fact, in SftB, everyone except for the facilitator sat in a circle [Figure 1]

When “Singin' in the Rain” started in one session, Laura sang louder than anyone else and invited her

76

The future of socially inclusive arts projects

CONTRIBUTION | Possibilities of music: living well with dementia

77husband, Michael, to dance in the circle. She later invited the rest of the members to dance with herpanied participants (with dementia) could also help to incorporate positive musical affordances duringtoo. When I met Michael and Laura at the local supermarket, Laura was anxious, and she didn't seem

the SftB session into their everyday lives; singing the same songs together in the car on the way home or

to recognize me. However, whenever we met at SftB, Laura said to me happily, “I can sing everything.

at home, researching the background of the songs together and sharing memories related to the songs.

I know all the lyrics. People say I'm a good singer. I was born to sing”. She was undoubtedly very confi-

In addition, “Shalom, ” which was always sung at the end of each session, was also sung by SftB par-dent in her own ability, such as being able to recall the lyrics and sing. For Laura, who often lost confi-

ticipants as a “funeral song” when a participant died. One caregiver said that her husband tried to singdence in her daily life because she could no longer cook or shop, singing was the only action that gave

“Shalom” to say goodbye to her before he passed away. Michael, who remained at SftB as a volunteer af-

her a sense of accomplishment, which allowed her to restore her confidence. “Singin' in the Rain” waster Laura's death, said that singing “Shalom” reminded him of Laura. In this way, the musical affordancesa theme song for the 1952 film of the same name, and the song seems to have been sung often in thedeveloped within SftB have permeated into various spaces and times in participants’ everyday life. They,

local theatre groups of which Michael and Laura were a part. As the concept of “musical affordance”

as a result, have supported the lives of people living with dementia in a sustainable manner.

suggests, “Singin' in the Rain” here, coupled with the inclusive “space” created by all the members of
the group sitting in a circle, her husband Michael, and Laura's memories and habits of the song, had apositive effect (affordances) on Laura's mind and body

4 | Afterword.

[Figure 2]

The ‘greying’ of many industrialized countries – China, India and surrounding countries – is leading toan increased number of people suffering from dementia. If we are to care for 50 million with dementia,

Fig.2

we need to find ways to support everyday lives of people affected by dementia in a sustainable man-

Keyboard

ner. As the SftB case study showed, music has possibilities to sustainably support the lives of people
living with dementia as a resource for self-care, mutual care, and community care. This case study

Michaelfurther suggested that anyone can make use of the possibilities of music in dementia care with thecorrect knowledge and understanding of dementia, the relationship between the individual and music,

“Si

Laura

and the daily life of people living with dementia. In order for people living with dementia to maintain

”
ain

n

’ in theRgin

their quality of life over the “long goodbye” period through the proactive use of music, it is important

Habitsthat music therapists, musicians, family and friends, care and medical professionals, cultural service

Memoriesplanners, and sociologists collaborate. By drawing on our expertise and knowledge together, we canachieve and promote the sustainable support for people affected by dementia.

Laura and Michael, centre right, dancing hand in hand3 - 5 | Possibilities of music to be permeated into everyday life

Michael said in an interview,
If Laura feels all right, I feel all right. We can always have a good time together when we come here,
and I look forward to it every week. Talking to another carer is good too. It gets better every time(round songs and two-part chorus) and that kind of activity is fun for me, too.
Like Michael, SftB had become a relief for the other caregivers as well. For dementia families who were
often socially isolated, continued participation in SftB gave them opportunities to maintain social connections, rekindle mutual relationships and explore ways to live well with dementia within their remaining capacities. This had a positive impact on their quality of everyday lives. The caregivers who accom-

78

The future of socially inclusive arts projects[*1] Matthew, L. (1999). The long goodbye: The experience of loss in husbands who care for a wife with dementia. Dementia Care: Developing
Partnerships in Practice. London: Bailliere Tindall[*2] Haas, R., & Brandes, V. (2009). Music that Works: Contributions of Biology, Neurophysiology, Psychology, Sociology, Medicine and Musicology.
Springer Verlag. Koger, S. M., & Brotons, M.(2000).The impact of music therapy on language functioning in dementia. Journal of Music
Therapy, 37(3), 183-195. Ridder, H. M. (2017). Music therapy in dementia care and neuro-rehabilitation. Approaches: An Interdisciplinary
Journal of Music Therapy, 9(1), 28–30.
[*3] DeNora, T. (2000). Music in Everyday Life. Cambridge University Press.
[*4] DeNora, T. (2003). After Adorno: Rethinking Music Sociology. Cambridge University Press.
[*5] In 2003, a caregiver started the practice in an elderly care facility, which has spread throughout the UK. It is practiced in various regions of the
UK as a musical activity for people with dementia and their families organized by the Alzheimer’s Society, a non-profit organization.
[*6] The facilitator begins to play the introduction of the song on the keyboard without mentioning the name of the song, and the participants singand hum along with the keyboard playing. If they know the name of the song, they can guess it.
[*7] “Shalom” is a Hebrew word meaning “peace, happiness” and it is also used as a greeting. Although it was not a familiar song to the participants,
they were able to learn it quickly with its simple melody and lyrics, repeating “Shalom, my friends, Shalom my friends, Shalom Shalom until
we meet again Shalom”.

CONTRIBUTION | Possibilities of music: living well with dementia

79

Overview of BSO,

LECTURE SUMMARY

and the BSO Participate Programme (the BSOPP)

Bournemouth Symphony Orchestra’s
approach to diversity and inclusion

BSO was established in 1893. With its base in Poole, its home territory covers
an extensive area of around 10,000 square miles (25,000 square kilometres)in south-west England. BSO holds around 140 public performances eachThinking about diversity, equity, and accessibility in classical music activities
using case studies from the wide-ranging community programmeof the UK’s Bournemouth Symphony Orchestra

year, and carries out education and community programmes with 23 local
authorities. BSO has 58 full-time musicians and 35 administrative staff. In
addition, around 600 freelance musicians are involved with particular projects as specialists on a contract basis.
The BSO Participate Programme (hereinafter, the BSOPP) is the overall project name for the education and community programmes carried out by BSO.

The Bournemouth Symphony Orchestra (hereinafter, BSO) has developed

In partnership with various national and regional organisations and groups,

many activities rooted in the local area, working together with socially disad-

the BSOPP aims to raise social inclusivity through its activities which, asvantaged and multi-generational communities. These pioneering initiatives

cultural interventions in communities, create a sustainable legacy together

are highly acclaimed within the UK and abroad.

with the local residents.

We invited BSO to Tokyo Bunka Kaikan in November 2019 to hold profes-

The development of the BSOPP has been highly acclaimed within the UK,

sional training for musicians and a talk session, creating opportunities towith BSO receiving the title of “Dementia Friendly Organisation of the Year”

learn from them about the methodologies which make high-quality, socially(an award given to an organisation which makes a real change to the lives ofinclusive arts activities possible. During the training (held on 24 – 26 No-

people with dementia) from the UK’s Alzheimer’s Society in 2017. In 2018,vember), BSO members shared their methods and practical experience inmeanwhile, the BSO Resound ensemble, made up of disabled musicians,

the UK with Japanese musicians and workshop leaders, and held an actual

performed at the BBC Proms. BSO is attracting attention from around theworkshop at a social welfare facility.

world for these and other activities.

This lecture summary provides a broad overview of basic information about BSO

The BSOPP runs programmes throughout south-west England which are

and the structure which has been put in place to implement the various commu-

open to people from all generations, social backgrounds, and life stages; tonity-oriented projects introduced during the talk session (26 November).

residents of disadvantaged areas as well as those of areas of higher economic success. Around 650 events with around 70,000 participants are held
annually as part of these programmes. The principal programmes includedin the BSOPP are as follows.

80

Programmes for families and under 5s

Crescendi, etc.

Programmes for schools and 5 – 18 year-olds

Schools’ Concerts, Adopt a Musician, Work Experience,
Open Rehearsals, Masterclasses, etc.

Community programmes

BSO Voices, Family Orchestra, Rusty Musicians, etc.

Health and wellbeing

Cake Concerts, Care & Residential Home Visits,
Recovery Orchestra, Tea Dances, Music for a While, etc.

Rising talent

Change Makers, Composers’ Day, Young Conductor in Association, etc.

LECTURE SUMMARY | Bournemouth Symphony Orchestra’s approach to diversity and inclusion

81

The activities of BSO Associate Musicians,

This project was run as a part of the Arts Council England’s “Change Mak-

connecting various generations through musicers” project, which aimed to promote greater diversity in UK arts and culture.
BSO Change Makers Programme, which was based on the ideas of the social

It would be impossible to implement the BSOPP without the BSO Associatemodel of disability, aimed at the fundamental growth of BSO as an organi-

Musicians. BSO Associate Musicians are professional musicians who aresation – the development of more original musical activities, and an accept-

responsible for BSOPP activities at social welfare facilities and facilities forance of more diverse forms of creativity. It centred on two pillars of activity.

senior citizens. They lead workshops with an awareness of diversity and inclusion, in line with BSO’s philosophy. The scheme was introduced in 2015,

1 | Training of a disabled conductor

and six professional musicians are currently Associate Musicians.

James ROSE was invited to BSO and trained as a conductor. Rose has a lim-

One of these BSO Associate Musicians, Hugh NANKIVELL, has a strong

ited range of movement in his arms due to cerebral palsy but, since he canconviction that “The stories spun by music can connect everyone: small chil-move his eyes and head relatively freely, he can conduct by fixing the baton

dren, the elderly, people living with disabilities...” He runs a community pro-to his glasses. Through his training with BSO, Rose says that he not only

ject called “Making Bridges with Music.” This is a multigenerational work-

experienced remarkable musical and technical growth as a conductor, butshop project in which children aged 0 – 4 and their nursery teachers visit aalso obtained social skills.

facility for senior citizens for a set period, and the elderly people, their carers,
the children, and their teachers make music together. They sing old songs“To say that it changed my life doesn’t go far enough. I went from a situationand new ones composed on the spot, play instruments, and create a story

where I was told ‘You can’t do this’ to an environment in which I could assert

through music. When this project was evaluated based on the Arts Obser-that ‘I can do that’.” (James ROSE)

vational Scale (an index for participant observation at arts activities), it wasrecognized as having effects going beyond musical activities. Analyses ofworkshop participant observation, participant feedback, and interviews withnursery teachers and staff of the care facilities showed an increase in theamount of talking by the children, and improvements in their willingness totackle challenges and their ability to cooperate with and communicate withpeople from different generations. Meanwhile, the senior citizens regained
physical vigour, initiative, and self-respect, and gained motivation to live andto be active. Moreover, the results also showed that the project functioned
as a training opportunity for carers and nursery teachers to upgrade theirprofessional skills.
In these ways, music workshops open to people from various generations
were shown not only to improve participants’ social and emotional wellbeing, but also to enable mutual learning among the participants, irrespectiveof their individual ages, abilities, or social situations, playing an importantsocial function as a venue for learning and interaction across generations. It
is also noted that these activities are led by BSO Associate Musicians.
2 | BSO Resound

BSO activities with an awareness of diversity and inclusion

BSO Resound, the world’s first ensemble of professional disabled musicians,
directed by Rose, began its activities in January 2018. It is made up of BSO

82

In July 2017, BSO began its 18-month “BSO Change Makers Programme.”

members and five disabled musicians (cello, percussion, flute, clarinet, andThe future of socially inclusive arts projects

LECTURE SUMMARY | Bournemouth Symphony Orchestra’s approach to diversity and inclusion

83

LinnStrument).

counted for 249,000 pounds sterling (around 35.6 million yen), and that from

BSO Resound has given many performances so far, including concerts for

BSO Change Makers for 75,000 pounds sterling (around 1.072 million yen).

disabled people, concerts at schools, Relaxed Performances (concerts where
various adaptations are made so that people for whom attending an ordinary

Reasons for the success of BSO Change Makers

concert would be difficult can attend without any concerns), and closed concerts for BSO corporate partners, and also appeared in the internationally-fa-

The data collected so far shows that initiatives seeking diversity and inclu-

mous BBC Proms. BSO Resound activities are always required to meet thesion, which also aimed at organisational reform within BSO, have appar-same artistic level as other BSO activities, and they are highly acclaimed for

ently been very successful. According to our analysis, the reasons for these

their role in changing society’s attitudes and prejudices towards disability.

achievements by BSO are as follows.

The outcomes (achievements) and
impact (social and economic changes) of BSO Change Makers
Evaluation of the outcomes and impact of BSO Change Makers has been
carried out since the initial stage of activities. The details are available on the
BSO website(https://bsolive.com/participate/bso-change-makers-report/).
After Disability Equality Training (DET) was held for musicians and administrative staff before the start of BSO Change Makers, 17% of the participants
responded that “the relationship between disability and equality and my job
became clear”; 42% responded that “I gained a deeper understanding of disability”; 25% that “I gained confidence in dealing with disabled people”; and
10% that “I can become more open towards disabled people”. Moreover, interms of concrete changes, there were organisational-level improvements
such as reviews of accessibility in staff recruitment and auditions for orchestra members, ticket sales, and customer support.

❶ Support from all the members of BSO for a project concept ofwith a strong focus on socialentrepreneurship, and a collective
approach of striving to achieve a grand ambition.
❷ The existence of an environment which permitted a variety of
stakeholders, including audiences, sponsors, and donors, to get involved.
❸ Consistently high artistic ideals, with a refusal to compromise on
the quality of activities or the maintenance of standards.
❹ The innovativeness found throughout the project concept and contents
thanks to the ideas of the “social model of disability”.
❺ The firm resolve, right from the design stage, to create social legacy andimpact through the initiatives.

The implementation of BSO Change Makers attracted a great deal of attention for BSO’s activities, enabling public relations to expand dramatically.
Audience numbers at concerts have reached a cumulative total of around
500,000, while viewer and listener figures for BBC television and radio programmes featuring BSO Resound and Rose have reached around 13 – 15
million within the UK. Furthermore, through the showing of the BBC Proms
in US cinemas, their broadcasting on the BBC World Service, and so on, it
is calculated that BSO activities have been able to reach around 25 million
people around the world.
The outcomes for BSO as a whole are also remarkable. There was a 19.5%
increase in the number of disabled concertgoers between the 2017–18 and2018-19 seasons. Moreover, the orchestra’s income increased to around 6
million pounds sterling (858 million yen). Of this, income from the BSOPP ac-

84

The future of socially inclusive arts projects* From the talk session “Thinking about diversity, equity, and accessibility in classical music activities using case studies from the Bournemouth
Symphony Orchestra”, held on 26 November, 2019. Edited and summarised based on the contents presented by Ben Jennings and Hugh Nankivell.
All the images included in this text were supplied by BSO.
* The information included here is based on that available in November 2019. An exchange rate of roughly 143 yen to 1 pound sterling was used for
currency calculations.

LECTURE SUMMARY | Bournemouth Symphony Orchestra’s approach to diversity and inclusion

85

INTERVIEW

Aiming to meet people where they are and share
together with them at all stages of life
Interviewer: NAKAMURA Mia (Sociology of Music and Arts / Associate Professor, Faculty of Design, Kyushu University)
Interviewee: Ben JENNINGS (Participate Programme Manager, Bournemouth Symphony Orchestra)

NAKAMURA Mia (hereinafter, N)

When did the BSO
Participate Programme (hereinafter, the BSOPP) start?
Ben JENNINGS (hereinafter, J)

We were already carrying out outreach activities at BSO, but we adopted thecurrent BSOPP format in 2014. At the time, there wasa staff of three. Currently, we have six people. The BSO
Associate Musician system, in which professional musicians take on a specialist role as workshop leaders,
was introduced from 2015. The Associate Musicians
can gain an accurate understanding of the needs ineach area without our musicians having to travel hundreds of miles, so we are now able to offer a richer
range of activities.
N
How do you secure the budget to continue the
BSOPP?
J

The annual income of the orchestra as a whole isaround 6 million pounds (around 858 million yen). Of
this, 50% is a grant from the Arts Council England,
and the remainder comes from external funding suchas ticket sales and financial support from individuals
and companies. Carrying out community-oriented andoutreach activities is a condition for receipt of the Arts
Council grant. In other words, without the BSOPP,
BSO cannot obtain grant funding. There are also some
initiatives which are financially independent. One
example of this is the schools music projects carried86

out via the Music Education Hubs [*1]. The contractfor each project becomes part of BSOPP income. In
addition to this, we also receive external funding forspecific projects. In 2019, we carried out a project tocommemorate the 75th anniversary of the Normandy
D-Day landings; since we needed to obtain externalfunding to cover 75% of the project budget, we sought
donations from individuals.
N

Has the BSOPP contributed to obtaining external funding, such as corporate sponsorship and donations from individuals?

J
Effort is needed to build an ongoing relationship with companies. Most of our corporate partners
attach great importance to a mutually beneficial relationship with their local communities, and do not
simply want exposure in promotional materials, but
are looking for a way to “give something back.” Individual donors have a shared sense of the meaning andvalues behind BSO’s activities, and obtain a sense ofsatisfaction that they have been able to contribute to
local society through our activities to bring music tothe community. Moreover, retired orchestra members
and families of deceased audience members also makedonations. The orchestra is supported by a countless
number of donations. By maintaining a high standard
for its activities, the orchestra plays the role of a cultural beacon in the local community, and is a source of

The future of socially inclusive arts projects

pride for local residents. I think that is probably why
people want to support us. On the other hand, funding
from local governments is decreasing. In order to offer
a wide range of activities, we probably need to look for
new “friends.”
NJ

How do you validate BSOPP projects?

Before starting a project, we plan the goals, anddecide upon the project content and outputs. We carry out progress monitoring and interviews with people
involved while the project is in progress, and surveys
once it is finished. In the survey, we ask for the participants’ opinions and thoughts about what was effective
and what was not, and make use of the answers whenplanning the next phase of the project. We also makephotographic and video records. Validation is necessary
for us as an organisation, but we also make use of it inexplanatory materials sent to sponsors and donors.
Third-party validation is also important. Every threeor four years, we call in a specialist to carry out athird-party validation of all our projects. Currently, ourteam are also carrying out internal validations. Since
each person has a different degree of evaluation experience, all the people in charge of BSOPP projects
have taken a course where they learned about the evaluation framework used by third-party evaluators andcase studies of the framework in use. We also shareevaluation skills with the fundraising division, training
them to report on projects to our sponsors and donors.
It is important for everyone to share the same project
evaluation skillset and knowledge.
N

The BSOPP is a creative project which also has
great social significance, I think. If a Japanese orchestra or cultural organisation wanted to carry out asimilar initiative to the BSOPP, where do you thinkthey should start?
JFirst, it is important to imagine the outcomes

INTERVIEW | Aiming to meet people where they are and share together with them at all stages of life87and benefits of educational or social inclusion projects, and think about what merits they would have forthe organisation or for other projects. A perspectiveof “working together with the project beneficiaries/
target groups” is particularly important. This meansthat you understand the community’s needs and tailor
the content so that it is appropriate for them. It is notenough just to deliver something, on the basis that itis better than nothing. In order to develop activities
which fit a specific community or group of participants
well, you have to begin by getting a grasp of their situation and needs. Ensuring that the senior management understand and cooperate with educational andsocial inclusion projects is also essential. Without theunderstanding of the head of the organisation, you
cannot employ passionate and capable staff. It is also
important for the senior management to be proactive
in explaining the initiative to the directors and operational management team, and for the organisation
as a whole to take an interest. With an organisation

like an orchestra, I think that it is effective to have thephilosophy and approach filter through the structurefrom the top down, so that everyone is heading in thesame direction. At BSO, for example, the chief executive talks about BSOPP initiatives and the meaningof our activities on various occasions, so the audience,orchestra members, and administrative staff have cometo show understanding towards it.
I personally feel that the will and passion of individuals are also important, though.
N
In Japan, there is a tendency to avoid activities
which do not make a profit, even if they are beneficial
to society. As people get to know about the BSOPP
and similar activities, does it become easier to attract
external funding?
J
Yes, of course. If an orchestra carries out diverse
initiatives, it starts to attract not only the people whohave traditionally wanted to support concert activities,

but also those who want to support activities locatedin and beneficial to the local community. In order toshow that the orchestra’s activities are relevant to allkinds of people, at all stages of life, that we are activein the community, and that we have things to sharethrough music, we go out to meet people where theyare. We want them to know how passionate we are.
However good our activities may be, it’s a real shame if
we don’t let anyone know about them, isn’t it?
At BSO, the BSOPP team are not directly involvedin obtaining grants or donations. The finance department is responsible for grants from the Arts Council,
and the specialist fundraising department is in chargeof most of the rest. This is why it is so important to
explain the initiative thoroughly to the operational
managers and to each section of the organisation, togain their understanding, and to share the same values.
It is essential for the staff in charge of each BSOPP
project to have fundraising and promotional ability.
Another point is that at BSO, we carry out our activities together with professionals in different fields, suchas music educators or social workers, and this type ofpartnership is important, because through collaboration, you can gain more expertise. It also becomesan opportunity for supporters of each organisation tolearn about the partner.

ily Orchestra” the chance to buy tickets for the following week’s BSO concert at half price. BSO makes all
the ticket arrangements, so the participants attend theperformance as a group. Also, when we give 30-minute free concerts at schools, parents and guardiansalso attend, so we let them know about BSO concerts.
We tell them about the “Kids for a Quid” promotion,in which children can go to concerts for £1, making
performances more accessible to them. Tailoring ourapproach in this way to suit each audience, letting one
know about the merits of community activities and theother about concerts so that they will come along toboth, is important.

N
In Japan, the core group of music fans, who cometo listen to orchestras, tend not to take part in community activities. Why does this work well at BSO?
J

We are working hard not to segregate “participants in community activities” and “concertgoers.” It
is important to disseminate information. For example, we introduce some of our concerts for families orschools at our regular performances, creating opportunities for people to learn about BSOPP activities.
Even people who are usually only interested in listening quietly to a symphony in a concert hall may decidethat they want to participate in the BSOPP with theirfamily if they have an opportunity to learn about ouractivities.
On the other hand, we offer participants in our “Fam-

88

[＊1 ]

Music Education Hubs are parent bodies made up ofmultiple groups including local authorities, schools, arts
organisations, community groups, volunteer groups,
and so on. They collaborate to deliver music education
activities suited to the needs of the local community,
based on a music education plan drawn up by thenational government.

* The information included here is based on that available
in November 2019. An exchange rate of roughly 143 yen to
1 pound sterling was used for currency calculations.

INTERVIEW | Aiming to meet people where they are and share together with them at all stages of life89

ROUND TABLE

in which creative dialogues arose through expression.

Arts activities which aim to bring people alive
Coordinators who led the way with the earliest workshops and outreachprogrammes in the Japanese performing arts fieldtalk about the definitive questions revealed to us by diverse body types

Moderator: NAKAMURA Mia (Sociology of Music and Arts / Associate Professor, Faculty of Design, Kyushu University)

OGAWA Tomonori (President, NPO ST Spot Yokohama)
TSUTSUMI Yasuhiko (President, NPO Children meet Artists)
YOSHINO Satsuki (Professor, Faculty of Letters, Aichi University)

First encounters with workshops
Nakamura

Ms. Yoshino and Mr. Tsutsumi, you havebeen holding outreach activities in the performing arts
field since a very early stage. What prompted you to
get involved with these activities?

YoshinoI originally worked in the performing arts
field, in production, but I gradually became more andmore involved with visiting schools and welfare facilities, coordinating workshops in which students, seniorcitizens, disabled people, or children in orphanages
met with artists, and creating works together.
When I went to study arts management in the UK
in 1992, I saw that various theatres were putting a lotof effort into their education programmes. Whether
artists were dispatched to schools to elicit expression
from the children, or whether children were invited totheatres, artists did not unilaterally show the children
their own modes of expression, but rather created aplace in which works of art were born in the courseof interactions with the children. Or to give a slightly
different example, I saw a programme at one school inwhich the students watched a short play about sexual

90

minorities and sexuality, then had a discussion withthe actors. They watched the play and then discussed
incidents from it, but the actors stayed in their roles as
they answered the students’ questions, and asked thestudents’ opinions about what they should have donein those situations, developing a dialogue. I think thatthey used what is called the forum theatre method inplaces. The quality was very high - not just the shortplay but also the question-and-answer session when
the actors stayed in character. I thought that wasamazing.
These experiences made me think that if I were to get
involved with performing arts management at a laterstage, I would like to play a role in cross-sectoral activities, bringing the arts to various citizens and linking
the arts to community issues. And so after I returned
to Japan in 1995, I started to produce workshops byartists. At that time, though, there was no concept of
this kind of work in Japan, so I gave myself the title of“workshop coordinator”, and planned workshops fora broad range of communities, including schools, social welfare institutions, and companies. These all had
a common goal: for people from groups who do not
usually go to the theatre and artists to create venues

The future of socially inclusive arts projects“Mongens’ Summer Holiday” workshop by the “cross-genre collaborative
band Mongens”, made up of NOMURA Makoto (composer), KURASHINA Junko (actor), ENDA Makoto (dancer), and YOSHINO Satsuki

Tsutsumi I also started off, in the 1990s, through involvement with the production of stage works and art
exhibitions in which “audience” and “performers” wereclearly separated; but as I spent time with the artists,
their presence and unique personalities drew me in. I
began to think that it would be good if children could
have the opportunity to meet with artists within theenvironments in which they were growing up, and I
launched ASIAS (Artist’s Studio In A School) in 1999,
taking artists to public elementary schools attended bychildren from a range of family backgrounds. We wereincorporated in 2001, and began to visit not only elementary schools but also nurseries, kindergartens, andjunior high schools. Then, from 2008, the focus shiftedto visiting special needs schools, and our activities now
also encompass orphanages and residential facilities
for children with disabilities.
Nakamura

Mr. Ogawa, why did you take an interestin workshops?

Ogawa

Because I myself find them interesting; but
I can’t explain it well. I think because they suggested
an alternative, a more interesting way of enjoying art
than looking at a piece in a theatre or art gallery in a

fixed way. At the same time as making suggestions to
education or social welfare venues, I think that theyalso make suggestions to people in the arts.
When Ms. Yoshino and Mr. Tsutsumi began theirworkshop activities, they held some training and study
sessions. I didn’t initially know even the direction of
the workshops I wanted to hold. While I was still unsure about this, I took part in Mr. Tsutsumi’s workshops in community settings, and I am very glad that
I was able to begin my own activities while I was also
learning some shared terms.
Around that time, a theatre colleague with more experience than me told me on a few occasions that a“workshop” with a fixed structure, from X o’clock to
Y o’clock, was not really a workshop. In other words, aworkshop referred to a certain format in which people
gathered together, and should not be understood as an
event. At that time, there were fundamental discussions all over the place about the nature of workshops.
YoshinoI gave up trying to define the term “workshop” at a pretty early stage. At the beginning, people
brought in “workshops” from overseas, so interpretations and definitions of the term vary widely according
to the field. It is probably accurate to say that there are
as many definitions of workshops as there are people
holding them. This is why I think it is important forthe people who are going to hold a workshop together
to share their thoughts about what they see as important for their workshop.
Why art workshops now?
Nakamura

Until recently, music and art were seen as
things to “appreciate” – why do you think that workshops are attracting attention now? What do you
think is the meaning of having diverse people, such as
children, senior citizens, or those with disabilities, participate in workshops and come into contact with art?

Ogawa

I think that part of it is perhaps the fact that“there are no answers.” When do you draw a picture;when do you finish it? It’s complete when you fin-

ROUND TABLE | Arts activities which aim to bring people alive91

ish drawing it. If someone comes along and tells you“That’s enough, isn’t it?” the whole thing becomes
meaningless.
I think that we have a society on the one hand which
demands answers, correct answers, right away, and ismuch too afraid of anything that is different from thecorrect answer. If this is the case, then in workshops,
on the other hand, we can see some of the ways inwhich we can manage to cope in the midst of an uncertain society, even while things remain uncertain.
These are skills which are necessary for everyone, notsimply children, senior citizens, or minority groups,
aren’t they?

cate, and how they perceive things, I really feel thatthey get on well with children with intellectual disabilities or autism. It’s that they enjoy the fact that they
don’t know what these children are perceiving, so they
enter into it heart and soul.
Some children with autism don’t say anything, whileothers speak a lot. I think that the topic of the relationship between the handling of words and physicalsensations is a really interesting one right now.

Tsutsumi

When I set up “Children meet Artists” as aplace for children to encounter art, I simply wanted tolet children know how interesting art and artists were.
But as we continued our activities, I became able tonotice the grave aspects of the situations which individual children faced. In other words, there are problems and environments created by the adults aroundthem and by society which mean that children cannot
exist in their natural state, cannot express themselvesin a genuine way. At those times, workshops by artists
can foster and give them opportunities to think that
it is fine to be themselves, helping children who havebeen hurt to recover.
Ogawa

I want to let children know about diverse
values through workshops created by artists but, at thesame time, I think we can say that children have a lot
to teach us. For example, adults may be surprised by
the unique values held by children and made to realisethat such ways of thinking and doing also exist. When
this happens, participants sometimes tell us that what
we had hoped to do is completely impossible for them,and we wonder what to do... But artists are really happy in these situations. I have the feeling that thesekinds of situation are relatively frequent when we workwith disabled people.
Tsutsumi
When I see what artists find interesting
during workshops, the ways in which they communi-

92

Workshop at an elementary school given by MIZUUCHI Takahide (artist)and coordinated by the NPO Children meet Artists

Yoshino Yes, I think that closeness is part of it – notjust to children, but to all participants. I was involved
with the “Able Art On Stage” project, in which disabled people and those without created performing arts
productions together, for about five years from 2004.
Through this, I encountered various different bodies,various different kinds of speech, and strongly experienced how there are words and expressions which
are made visible by that person’s unique physique andmental world. This changed my attitude towards andway of seeing my own works, and I feel as though ashift occurred in what moves my heart deeply.
Tsutsumi

Particularly when you come into contact
with children whose network of brain functions hasdeveloped unevenly, that really does touch you deeply,
doesn’t it? And it raises various questions, like what it

The future of socially inclusive arts projects

Photographer: KANEKO Yoshiromeans to communicate with people and sense the surrounding atmosphere. Or that we tend to think thateveryone experiences the same physical sensations, but
in fact, perhaps our experiences are worlds apart. In theend, it leads to questions about where people came from.
Ogawa
You end up asking those questions, don’tyou? An experience I still remember is the first time
I visited a school for children with severe physical andmental disabilities together with the musician Yusuke Kataoka. I was really afraid, and wondered whether it would be possible to make music with children
who could not sit up and could only say “Aah.” When
we made sounds, the people around them said “Thischild’s eyelids are twitching, so he understands,” but
I didn’t know what to make of this, so I asked Mr.

“Blood Wedding”, from “Able Art on Stage”
Photo provided by the NPO Able Art Japan

Kataoka. He replied “I think that it’s half due to the
influence of the music, as the people around him say;
but half is probably their misunderstanding.” Hearing
these words made me feel much lighter in spirit.
In other words, if we ask how people exist, the answer
is that each person is made complete within the context of their connections with those around them. So if
the people connected with that person are made happy,
it means that person is half happy, too. When I started
to think that this the nature of being human, I stopped
being afraid of going to workshops for children withsevere disabilities. Some really great pieces of music
were produced there, and I can proudly say that thesepieces were made by children who could hardly speakand could only move their eyelids.

ROUND TABLE | Arts activities which aim to bring people alive93whether or not you can draw out as much of this negative information as possible and also come to a kindof agreement on what kind of time you would like tospend together has an enormous impact both on theartists who are directly involved with the activities andon the participants. However, at such times, the coordinator can sometimes become caught between thecircumstances and thinking on one side and those on
the other side. At those times, I think it is important
to be graceful and positive about being caught in thisdifficult position.
Tsutsumi

Sometimes communication with teachersat schools doesn’t go well, even when I feel that I am
dealing with them sincerely, and the situation becomesawkward. It’s difficult to say what to do in those situations, but I want school teachers to be able to say what
they really think, and so I believe that there are times
when I also have to state my opinion honestly. I thinkthat it is impossible to play a good role as a coordinator
if the relationship is no longer between equals.
Ogawa
Workshop at a social welfare service provider for disabled people, given by NISHII Yukiko (composer) andcoordinated by the NPO ST Spot Yokohama. Photographer: KANEKO Manaho

What is important in order tocreate a good space
Nakamura

What do you think is important whencoordinating a workshop?

Ogawa My NPO manages a small theatre, plans artistic and cultural projects, and runs community partnership projects. In these community partnership projects,
artists go to welfare service providers or to one of the
146 schools at the compulsory education level in Yokohama and carry out some kind of initiative there. We
cannot visit such a large number of schools ourselves,
so we are building a framework to collaborate with various people, including Mr. Tsutsumi’s NPO, to go to
all the schools. Of course, we go to some of the schools

94

ourselves. When we visit them, a stance of “outreachactivities bringing them good stuff ” is the wrong one,in my opinion. In other words, even if we have wonderful art, and carry out outreach with the idea of spreading it more widely in the world, it often causes a lot of
trouble for the recipients of that outreach. I think itgoes without saying for any work, but we take care tolisten thoroughly to the wishes of our partners.
YoshinoYes – whether you’re at a school or a social welfare facility, respecting others’ expertise andlistening carefully to what they have to say are fundamental, aren’t they? I think it’s also important not
simply to listen, but to draw things out when you do
so. Everyone tends to avoid telling you about negative
things, but I think that in order to create a good space,

The future of socially inclusive arts projects

If we listen to every single request which theschool has, we end up simply being service providers.
When we visit, we are at least partially acting as people
from the field of the arts and culture, so I think that it
is important for us, as representatives of that field, tostate clearly where we cannot compromise.

Nakamura

How long do you spend on meetings before a workshop? Do you decide on goals for the workshop there?

Tsutsumi The first meeting is just for staff, and takes
around an hour. We take the artist along to the second
meeting, which lasts about an hour and a half. Depending on the artist, it can take two or three hours. At
the first meeting, we hardly say anything about what
we would like to do. We listen to what our partners
would like to do, the kind of experience they would
like the children to have. At the second meeting, we letthem hear the artist’s ideas. As for goals, I’m afraid that
if we decide these in advance, they will become like theaims of a lesson plan, and we will end up directing theactivity towards them, so we don’t usually set them.
During the discussions before the workshop, I thinkthat it is important that the artist, the teachers at theschool, and the coordinator feel that they have come atleast halfway towards understanding each other.
Ogawa

Teachers at schools are busy outside classes
providing students with guidance on aspects of their
daily lives, so I make absolutely sure that we finish
planning meetings within 60 minutes. There are times
when I have opinions about the ways of doing things
at the schools which we visit, but since I’m not a critic,
I put up with those aspects and think about the kind of
space which we can create. If I don’t like it, I shouldn’t
choose to go there, right? (Laughs) Since I’ve decided to make the effort to go out into the community,
I think that it’s important to hang in there and keep
thinking.
The importance of the coordinator
Nakamuranator do?

What kinds of thing does the coordi-

Tsutsumi If you try to make a workshop given by anartist into a commodity and aim for mass consumption, not having a coordinator is perhaps better because it requires less work; but doing it this way is nogood. If you want to do things properly and create arich workshop, I think that the work of the coordinator is essential. On the other hand, the project budget
for a workshop is very small in comparison with one
for bringing a stage production from overseas. Witha similar proportion of the budget allocated to administrative costs, the coordinator has to work independently. It would be good if someone could evaluate
everything, including the way the coordinator works,
and rank it, wouldn’t it?
YoshinoIn the UK, there is always a dedicated coordinator, but even at public theatres in Japan, there arestill almost none. Someone takes on the role along-

ROUND TABLE | Arts activities which aim to bring people alive95

side their responsibilities for the production of performances, so it often becomes a kind of side job; themore conscientious the person is, the more unpaid
and unacknowledged work they end up taking on. I
think that there is not yet sufficient professionalism
among coordinators, nor sufficient knowledge of andwillingness to pay for these professional skills. Also,
the understanding of artistic and cultural facilities asplaces which create and show art is strong, so budget
allocations are based on this, and outreach work or
workshops which are held on a small scale and do nothave a big direct impact on audience numbers or theoccupancy rate of halls tend to be disregarded. Even
Tokyo Bunka Kaikan has a training programme forworkshop leaders, but does not yet have a programme
to train the coordinators who bring the two sides together. Without opportunities for both workshop
leaders and coordinators to learn on the job, acceptingthat they will make mistakes, the development of such
personnel cannot take place; but I get the feeling that

An original dramatic work created through a workshop given
by WATANABE Mai (director) and coordinatedby the NPO Children meet Artists
Photographer: KANEKO Manaho

most artistic and cultural facilities in Japan are barely
paying any attention to the creation of such venues.
Ogawa

The work of a coordinator includes matching artists with the venues at which workshops will
be held. What I consider at that time is the stage ofdevelopment which the artist is at. ST Spot also hasa theatrical division, and so we think together fromvarious angles, including whether it would be betterfor that artist to take on production at that particulartime, or whether it would rather be better for them todistance themselves a little from production. Since ourwork includes these kinds of task, it has an aspect of
all-round training and development for artists. If thatis so, then I think that it can’t be helped if we corral our
artists somewhat.

Yoshino I think that the situation varies from area toarea, but it would be good if we had a framework creating lateral connection between theatres, cultural fa-

cilities, NPOs, and so on, with government support toback their work. I think that the ideal would be for us
to share expertise and information and learn from one
another, rather than being isolated within each area.
Future workshops
Nakamurafrom here?

How would you like things to develop

TsutsumiChildren meet Artists talks about “happy encounters between artists and children,” but wedeliberately gloss over an aspect of it. I think thatworkshops are activities which have a high probabilityof bringing about changes in the children, but thesechanges are different for each individual child, so it
is impossible to predict what they will be without actually doing the activity. We tell teachers at schoolsthat these are lessons in which children do “activities”, while for staff of social welfare institutions, theterms “leisure” or “independence” are probably moreeasily understandable. We change the words we use
depending on the person to whom we are speaking,but at the end of the day, the aim of the workshop isn’tmuch more than to make some kind of impact on thechildren: we cannot say anything concrete about how
the children will change. And recently, the element of“coming into contact with art” has gradually begun todrop away.

towards a society in which it is easy for everyone, including me, to live and thrive.
Ogawa

I think that it is best for the people who are
involved with a space – whether it is a space for education, local government, or community building – tocreate that space together, even as they face various issues, rather than to have people with privilege evaluate
it according to numbers and make the decisions. Since
I am based at an NPO, I use the language of approaching and resolving social issues, but what I want to dois perhaps fundamentally a kind of social activism. In
other words, I envisage a future in which I connect
my activities together with those of other people who
think that society would become more interesting with
art in it, working in that direction without being afraidof personal renewal or innovation.

YoshinoAt the beginning, I also thought that it was
all “done for the sake of art.” But now, I have cometo think that the arts management which I do is not
management for the sake of art, but rather management so that people can be made happy, can come alive
through art. I think that the activities which we term
“workshops” or “outreach” are one method of bringing
people with various experiences and in various circumstances alive. So I do not want to make the workshops themselves into the aim. Rather, by increasing
the number of opportutinities in which various people
relate to one another in various ways through expression, I would like it if we could gradually move closer

ROUND TABLE | Arts activities which aim to bring people alive97

Workshop Workshop! 2020 on stage & legacy

FY2019 Activity Records

Special Forum Diversity, Equality, andAccessibility: from case studies of theBournemouth Symphony Orchestra

Tue 26 Nov

18:00–20:00

Tokyo Bunka Kaikan
Large Meeting Room

People in the field of arts,
music, education, and social
welfare; artists; cultural administration personnel; students;
researchers; and such

41

［Programme 1］ Long Term Project in a collaboration with various institutions
Taito City Community Activity Learning Course - Music Pathway:How to utilise music actvity inlocal area - a way of music communication. [Co-organizer: Taito City Board of Education]

Lectures and Training for the Art Activities Leading to Social Inclusion /Professional Training for Musicians
Date

Forum "Social Inclusion andMusic in an Aged Society"Tue 2 Oct

Lecture "Dementia and Art; Music and Care"Mon 24 Feb

Part1 Let’s start improvisational music
workshops in which anyone can become
the leading role—from the case study of“Sound Sandpit”
Part2 Training for creating improvisationalmusic #1: Playing with sounds without Do Re Mi

Time

14:00–16:00

16:30–18:00

Tokyo Metropolitan
Art Museum,
Art Study Room

For/With Whom

People in the field of arts,
music, education, andsocial welfare; artists;
cultural administration
personnel; students;
researchers; and suchThu 24 Oct

Thu 28 Nov

Part4 Training for creating improvisationalmusic #3: The wonder of rhythm and fourchordsFri 29 Nov

66

66

19

Thu 21 Nov

Part3 Training for creating improvisationalmusic #2: Piano is percussion!? The basics
of chord progressions

Numbers ofParticipants

21

18:00–21:00

Part5 Loosen, Connect, and Create: The
Take-It-Slow Dance—is roughly about thepossibility of nonverbal physical expression
and the communication coming from a body

Venue

Tokyo
Bunka Kaikan
Rehearsal RoomMusicians who areinterested in arts activities
leading to social inclusion, workshop leaders,orchestra performers,
music college students,
artists, etc.

19

14

Date

Fri 31 Jan

Lesson 2: How to expand your music activities

Sun 13 Oct

Lesson 3: Deliver the joy of music Examples of Tokyo Bunka Kaikan

Sun 20 Oct

Lesson4: Making a bridge in community
with music

Sun 27 Oct

4
14:00–16:00

Taito City Lifelong
Learning Centre

5
Anyone over 18 years oldliving / working / attending school in Taito City,
with music experiences.

Lesson 5: Designing a music workshop Knowing about your participants - older people.

Sun 3 Nov

Lesson 6: Designing a music workshop Preparing a workshop

Sun 10 Nov

14:00–17:00

Lesson 7: Designing a music workshop Delivering a workshop at a care home.

Sat 16 Nov

14:00–17:00

Taito City Lifelong
Learning Centre,
Special Care Home for
the Elderly “Asakusa”.

6

Lesson 8: How to enrich your music
activities

Sat 16 Nov

14:00–16:00

Taito City Lifelong
Learning Centre

6

Time

Venue

Sun 24 Nov

11:00–16:30

Tokyo Bunka Kaikan
Rehearsal RoomMon 25 Nov

13:00–17:00

Route Books (Higashi-Ueno)

10:30–16:00

Tokyo Bunka Kaikan
Rehearsal Room,
Care house within
Taito City for sociallychallenged people

Tue 26 Nov
13:30–14:30

Social welfare corporaition ‘Seihoukai’
Asakusa hourai

8
6

408

18

［Programme 2］ Orchestra Concerts at Schools in Special Needs [Co-organizer: Tokyo Orchestra Business Cooperative]Time

13:15–13:45
Japan Philharmnic Orchestra

Date

Numbers ofParticipants

10

Programme 1 Total

The Tokyo
Metropolitan
Theatre,Symphony Space[Cooperation: Japan Century Symphony Orchestra]

100

For/With Whom

Cancelled due
to a typhoon

Professional Training for Musicians with the Bournemouth Symphony Orchestra

Program B Training to conduct music
activities building with diverse people.

Venue

Sun 6 Oct

Lesson 1: Opening Music makes people together

Date

Program A Training to develop activities
in which every participant plays a key role.

Time

For/With Whom

Users of care home for Eldery and Disabled people,
caregivers, volunteers

Workshop Workshop! 2020 on stage & legacy FY2019 Activity Records

14:00–14:45

Numbers ofParticipants

11
Musicians who areinterested in arts activities
leading to social
inclusion, workshop
leaders, orchestra
performers, music college
students, artists, etc.

Wed 17 Jul

New Japan PhilharmonicTue 26 Nov

13:40–14:50

10

Tokyo Metropolitan
Hachioji SpecialNeeds Education
SchoolTokyo Metropolitan
Komei Gakuen SpecialNeeds Education
SchoolTokyo Philharmonic Orchestra

Wed 4 Dec

13:20–14:20

Tokyo Metropolitan
Shirasagi SpecialNeeds Education
SchoolTokyo Symphony Orchestra

Mon 23 Dec

13:30–14:45

Tokyo Metropolitan
Den-enchofu SpecialNeeds Education
School

8

70

Venue

For/With Whom

Elementary / Jr. High School(Intellectually Disabled)µ

High School(Intellectually Disabled)µElementry / Jr.High / HighSchoolµ(Physically Disabled,

Numbers ofParticipants

341
192

130

Health Impaired)µ

High School(Intellectually Disabled)µ

High School(Intellectually Disabled)µProgramme 2 Total

Workshop Workshop! 2020 on stage & legacy FY2019 Activity Records

310

158

1,131

101

［Programme 3］ Workshops at Special Needs School
Date

Time

［Programme 3］ Workshops at Care Homes and Day-care Centres for Senior Citizens and Disabled People
Venue

9:50–10:40
Musica Piccola

Thu 13 Jun

10:55–11:45
13:30–14:20

Outreach Programme by the Royal Ballet“Don Quixote”

Wed 19 Jun

11:15–12:00
13:35–14:20
9:40–10:25

What’s in the mysterious treasurebox in the sea?

Mon 24 Jun

10:35–11:10
11:20–12:05

Workshop Concert - String Quartet

Mon 1 Jul

10:15–11:05

Tokyo Metropolitan
Machida-no-oka
Gakuen SpecialNeeds Education
SchoolFri 18 Oct

10:50–11:40

Tokyo Metropolitan
School for the Deaf,
Otsuka (Joto branch)

Tokyo Metropolitan
School for the Deaf,
TachikawaTokyo Metropolitan
Kita Special-Needs
Education School

Tokyo Metropolitan
Tama Sakura-no-oka
Gakuen SpecialNeeds Education School

11:45–12:35

Musica Piccola

Wed 23 Oct

10:10–11:10

10:00–10:50µWorkshop Concert - Brass Quintet

Tue 10 Dec
11:25–12:15

One Day Session102

Tue 4 Feb

10:50–11:35

Numbers ofParticipantsElementary Schoolµ(Physically
Disabled,µHealth Impaired)µ36High Schoolµ(Physically
Disabled,µHealth Impaired)µJr.High Schoolµ(Physically
Disabled,µHealth Impaired)µ9:55–10:45
One Day Session

For/With Whom

31
31

5 years old (Hearing Impaired)23

3 years old (Hearing Impaired)18

4 years old (Hearing Impaired)

21(Physically DisabledµHealth
Impaired)µJr High School 1st grade(Intellectually Disabled)+F42:F45
Jr High School 3rd grade(Intellectually Disabled)

Jr High School 2nd grade(Intellectually Disabled)

Tokyo Metropolitan
Kita Special-Needs
Education School
Tokyo Metropolitan
Sumida SpecialNeeds Education School

Elementary / Jr.High /High School µ(Severe multiple

126

Venue

For/With Whom

Numbers ofParticipants

11:00–12:30

Taito City Kanasugi
Community Centre,
Shitaya Branch

Disabled people, family,
care givers and everyone
in local area80

14

Fri 20 Dec
10:30–11:30
Tue 14 Jan

22
20

Nursing home
“Live In Sakura”

Programme 3 Total

Elementary School(Visually Impaired)Time

Music workshops for senior citizens“Shall we sing?”

Venue

The Tokyo Metropolitan
Theatre, Rehearsing
Loom

Wed 13 Nov
10:30–11:30

The Tokyo Metropolitan
Theatre, SymphonySpace

Sat 23 Nov

Music workshops for senior citizens,
Reporting Session

Tue 10 Mar

16:30–18:00

Tokyo Bunka Kaikan
Large Meeting Room

For/With Whom

Workshop Workshop! 2020 on stage & legacy FY2019 Activity Records

980

Numbers ofParticipants

26
Senior citizens livingin Tokyo
25

People in the field of arts,
music, education, andsocial welfare; artists;
cultural administration
personnel; students;
researchers; and such
Programme 4 Total

37

15［Programme 4］ Valdation of Music Workshops for Senior Citizens(Intellectually Disabled)

Tokyo Metropolitan
School for the Blind,
Kugayama Seiko Gakuen

15

10

54

358

Residents of thenursing home

Thu 23 Jan

32

Jr. High School
High School

Music workshops for senior citizens“Sound sandpit”

Date

disorders)µ(Intellectually Disabled)

Sat 27 Jul

Time

Fri 29 Nov

20

Elementary School

Jr.High/High School

Mid-Summer Concert”Workshop Concert - String Quartet”,”Body, Sound, Sing”

17

Nursery (Healing Impaired)(Hearing Impaired)Date2020 on stage & legacy Total

Workshop Workshop! 2020 on stage & legacy FY2019 Activity Records

Cancelled
due to the
COVID 19
pandemic

51
2,570

103

PROFILE

FUKUI
Chizu

HARA
MarikoKAJI
Naoko

KUSAKA
Nahoko

NAKAMURA
Mia

104

Chief of Educational Section, Planning and Production
Division, Tokyo Bunka Kaikan—
FUKUI Chizu graduated from the piano course of theConservatorio di Musica Santa Cecilia in Rome. In addition
to being invited to take charge of projects at the New
National Theater Tokyo, the Fujiwara Opera, and others,
she serves as an interpreter for leading European opera
companies when they visit Japan. She graduated from a

Masters course in arts management run jointly by SDA
Bocconi School of Management and Teatro alla Scalain Milan. She joined Tokyo Bunka Kaikan’s Planning and
Production Division in April 2011, and has been Chief of the
Educational Section of this division since April 2016. As
well as music workshops, she manages the international
collaboration with the Casa da Música and the workshop
leader development project.

Researcher, Inland Norway University ofApplied Sciences—
Her experience of working as a community musician andactivity coordinator for people with and without dementia
in Japan led her to join the SocArts research group at
the University of Exeter, where she completed PhD in
Sociology. At the Inland Norway University of Applied

Sciences, she belongs to a musical education researchgroup where she conducts research into the careerdevelopment of migrant musicians who are active in Osloand elsewhere. Her research interests are how musicuse can be integrated into everyday life as a resource tohelp people to adapt to changes in their health and social
circumstances.

Director of Planning and Production Division,
Tokyo Bunka Kaikan—
KAJI Naoko graduated from the vocal course of KunitachiCollege of Music. After participating in opera productions
by the Fujiwara Opera and joint opera productions with the
New National Theater Tokyo, she became chief directorof La Voce Ltd., and was involved with the planning andproduction of opera concerts and performances, content
production and sales, and emerging artist support
programmes run by the Ezoe Scholarship Foundation (nowthe Ezoe Memorial Recruit Foundation). She took up her
current position at Tokyo Bunka Kaikan on the occasion ofits 50th anniversary opera series.

Psychology of Aging/ Professor, Faculty ofContemporary Social Studies, Doshisha
Women’s College of Liberal Arts—
KUSAKA Nahoko conducts research into
communities which aim to realize “the independence of
the individual” and “coexistence within society” throughcollaboration between diverse members, from senior citizens
to young people. Recently, she is also engaged in the studyof programmes supporting the development of life
design planning for old age, and in empirical researchin partnership with industry which aims to prevent theisolation of senior citizens. She is the author of many
books, including “Wonderful Aging” (Nakanishiya Publishing,2012), and “Life Design” (Nakanishiya Publishing, 2016).
She holds a doctorate in educational psychology and is aclinical psychotherapist and licensed psychologist.

Associate Professor of Sociology of Music and Arts,
Faculty of Design, Kyushu University—
She is interested in how music and arts can empowersocially marginalized people and contribute to changing
social environments. She is also engaged in cultural
policy research on evaluation. Her approach is mainlysociological but often interdisciplinary. Published English

articles include: “Music sociology meets neuroscience”
in Handbook on Music and the Body (Oxford University
Press, 2019); “Facilitation-based distributed creativity: The
Inari chorus performance at the Itoshima International Art
Festival” in Creativity in Music Education (Springer, 2018);“Retelling, memory-work, and metanarrative: Two musicalartistic mediations for sexual minorities and majorities inTokyo,” Music and Arts in Action (2014).

PROFILE

OGAWA
Tomonori

SATOH
Masayuki

SUGIYAMA
YukiyoTSUTSUMI
Yasuhiko

YOSHINO
SatsukiPresident, NPO ST Spot Yokohama—
OGAWA Tomonori took part in the launch of the community
cooperation project “ST Spot Yokohama” in 2004.
He is currently in charge of the secretariat of the
Yokohama City Art & Culture Education Platform, whichconnects arts practitioners with schools, and of thesecretariat of YOKOHAMA ART SITE, a project to support

private-sector artistic and cultural activities in the city,
in collaboration with local government and others. He
is a board of directors of the NPO Japan Contemporary
Dance Network, and also of the NPO Arts NPO Link. He
took up his current position in 2014. At present, in 2020,
he continues to work towards the establishment of a
Kanagawa centre to support artistic and cultural activities
by disabled people.

Dementia Prevention and Therapeutics/
Associate Professor, Graduate School of Medicine,Mie University; Center for Dementia,
Mie University Hospital—
SATOH Masayuki graduated from the instrumental music
course of the Department of Music, Soai University in 1986.
After working as a music teacher, he completed his doctor
course at Graduate School of Medicine of Mie University in

2002, and holds a PhD in medicine. He is a specialist of
neurology and dementia. His areas of expertise areneuropsychology and dementia medicine. In addition to
performing out the diagnosis and rehabilitation of higher
brain dysfunctions such as aphasia, he carries out research
into the neural processing of music cognition and music
therapy. He is currently researching the nonpharmacological interventions to dementia.

Chief of Inclusion & Partnership Section, Planning and
Production Division, Tokyo Bunka Kaikan—
Yukiyo specialises in arts management and learning
environment designing. Past experiences include chamber
hall management, contemporary music production, andthe direction of creative learning programmes both inJapan and the UK. From 2015 to 2018, she was the directorof “Unlearning Music” (Ueno Gakuen University), a project
selected for support by the Agency for Cultural Affairs.
Yukiyo completed a MA in Arts management and Cultural
Policy at Goldsmiths, University of London as a fellow in
the Agency for Cultural Affairs’ overseas study scheme,
and a MPhil in Social Informatics at Aoyama Gakuin
University. She was appointed her current post in April
2019. She is also a lecturer of Ueno Gakuen University.

President, Children Meet Artists NPO—
After working as an arts producer in the private sector
and then going independent, TSUTSUMI Yasuhiko started
ASIAS in 2000, and this became an NPO in 2001. Between
2004 and 2016, in addition to carrying out communityoriented projects at Nishi-Sugamo Sozosha arts centre

in Tokyo’s Toshima Ward, he served as director of “Toyota
Kids Meet Artists”. He launched Performance Kids Tokyo,
where children play the central role in the creation of
performing arts pieces, in 2008, and began activities atchildren’s homes in 2011. He is developing projects to bring
together children and artists within the fields of school
education and child welfare facilities.

Arts manager; Professor, Media Arts Major,
Contemporary Culture Course, Faculty of Letters,
Aichi University—
After completing a Masters course in department of arts
policy and management at The City University (City,
University of London), UK, she was responsible for culturalprojects at a public hall. In 2001, she returned to the UK asa participant in the Agency for Cultural Affairs’ Programof Overseas Study for Artists, studying and researching
theatre outreach and education. Since coming back toJapan, in addition to planning many workshops by artists
in education and social welfare venues, she is involved withoutreach projects and the training and development ofworkshop planners and facilitators around the country. She
is also active as a member of the cross-genre collaboration
band Mongens.

PROFILE

105

Tokyo Bunka Kaikan Music Program TOKYOWorkshop Workshop! 2020 on stage & legacy
Organizers

The Tokyo Metropolitan Government; the Tokyo Metropolitan
Foundation for History and Culture, the Tokyo Bunka Kaikan;
the Arts Council Tokyo

Collaboration

British Council

Supported by

The Japan Foundation for Regional Art-Activities, the Agency
for Cultural Affairs; the Government of Japan

Music Program TOKYOTokyo, an international artistic and cultural city, has developed “Music Program TOKYO,” which is integral
music programs that consist of diverse projects throughout the year, and which focuses on “creativity” and“participation.” “Enjoy Concerts” presents a variety of concerts which is based on classical music with artists and cultural facilities from diverse genres, “Workshop Workshop!” is conducted by a partnership withoverseas educational institutions, and all other educational programs are undertaken by “Music Education
Program.” We seek to stimulate the music culture in Tokyo and spread it to the world.

Tokyo Bunka Kaikan Music Program TOKYOFY 2019 “Workshop Workshop! 2020 on Stage & Legacy” Activity Report

Guidebook to the Art Activities leading to Social Inclusion
Date of issue

31 March, 2020 (Japanese Printed version)

Issued by

The Tokyo Metropolitan Foundation for History and Culture,
the Tokyo Bunka Kaikan
5-45 Ueno Koen, Taito-ku, Tokyo 110-8716, Japan
03-3828-2111(switchboard) http://www.t-bunka.jp/

President

HIEDA Hisashi

Managing Director ofTokyo Bunka Kaikan

HAYASHI Kumiko

Director of Planning and
Production Division

KAJI Naoko

Production

SUGIYAMA Yukiyo

Editorial supervision

NAKAMURA Mia (Kyushu University)

AdvisorYOSHINO Satsuki (Aichi University)

EditorOTANI Kaoruko (Mo chúisle Inc.)

Editorial support/writing

SAITO Chikashi (KraftWerks Inc.)

Photography

SUZUKI Jouji, INOUE Mino

Design/cover design

TAKAIYAMA Inc.

Printing/binding

Sanei Printery Co.,Ltd©2021 Tokyo Bunka Kaikan. Unauthorised transcription, reproduction, or duplication are prohibited.