Tokyo University of the Arts has played a major role inJapanese art education and has produced excellent artists,
educators, and researchers for 130 years.
Tokyo Fine Arts School and Tokyo Music School —— thetwo predecessors of Tokyo University of the Arts —— were
founded in 1887 in the wake of modernization in Japan.
These two schools established the foundation of modern
Japanese art education by inheriting the traditions ofJapanese arts and combining them with the philosophies
and techniques of Western art.
In 1949, the two schools merged, and since then, Tokyo
University of the Arts came to be known as the only
comprehensive national arts university in Japan.
The original campus is in Ueno, and satellite campuses havebeen established in Toride, Yokohama, and Senju, where
about 3,000 students are currently enrolled.
The University includes the Faculty of Fine Arts, Graduate
School of Fine Arts, Faculty of Music, Graduate School ofMusic and the Graduate School of Film and New Media. In
addition to them, the Graduate School of Global Arts wasestablished in 2016. At the University, the main goal of oureducation is to enhance students’ theoretical and practicalskills through small-group instructions. Our mission is toplay a key role in further developing the artistic culture in
Japan, while respecting the spirit of freedom and creativity
that has existed since the University’s foundation.
Tokyo University of the Arts

Faculty

Fine Arts
Music

Graduate School

Fine Arts
Music
Film and New Media
Global Arts

Department of Arts Studies
and Curatorial Practices

Clockwise from the top left——
Discussion View at the Group Laboratory Room, Department of Design;
Terra Cotta Making Practice Class View, Department of Sculpture;
Production Process View, Department of Japanese Painting, Graduate
School of Fine Arts; The University Art Museum; Sogakudo Concert Hall;
Orchestra Lesson View, Faculty of Music and Graduate School of Music;
Review Session View, Department of Global Art Practice, Graduate Schoolof Fine Arts.

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Tokyo University of the Arts

Graduate School of Global Arts

3

The Graduate School of Global Arts is a new graduate
center in Tokyo University of the Arts that was establishedin April 2016 to confront the rapid advances of globalization
within the fields of art and culture.
Since entering the 21st century we have already witnessed
dramatic changes in society. As this century continues, inwhat way will art and culture change? The Graduate Schoolof Global Arts will offer an experimental study program toproduce theories and practices that tackle these new andshifting forms of art and culture.
In the School's first year, the Department of Arts Studies
and Curatorial Practices was launched as one of the center's
main departments. In its new two-year Master's course, thekey areas of specialization are Arts Management, Curation
and Research. Within these specializations, we intend
for each student to work with their supervisors, utilizing
international networks, and engaging in both arts andcultural research and practical training in order to respondto the cultural conditions in the world today.

Curation

Arts
Management

Research

Clockwise from the top left——
View of Entrance Exam Introductory Session at the Senju Campus; View
of Seminar by a Visiting Professor, Bruno Latour at the Ueno Campus;
Installation View of the Exhibition “Seize the Uncertain Day” Curated by
Master’s Students at the University Art Museum Chinretsukan Gallery,
Ueno Campus; Image from the “Seoul – Tokyo Arts and Cities” Workshop
Trip, Student’s Presentation at the Seoul National University; Installation
View of the Exhibition “Landscape” at the Exhibition Room in the Ueno
Campus; View of Seminar by Professor Yuko Hasegawa.

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Tokyo University of the Arts

Graduate School of Global Arts

5

Message from the Dean:

What does the Arts Studies and Curatorial Practices
program at the Graduate School of Global Arts offer?
In this globalizing and also shrinking world, people
wander around the globe, searching for their placeand community. While developed countries are facing
various challenges posed by capitalism, developing
countries are still in the midst of rapid economic
growth. Through contact with both developed anddeveloping regions in the world, the Graduate Schoolof Global Arts intends to enable students to become
creative professionals who can not only develop andcurate arts and cultural practices, but also criticallyexamine these cultural practices in an attempt topresent new contexts and to unveil the diverse,changing values in society today.
The Arts Studies and Curatorial Practices programthat was launched in Spring 2016, focuses on threecore areas of specialization in order to study the
relationship between the arts and society. The
first core area is Arts Management, which aims tolink practitioners in the arts with their audiences.
It involves planning, producing, and managing
performances, artworks, projects, etc., as well as
raising funds and obtaining support. Facilitating
collaboration and coordination with stakeholders
involved is also part of Arts Management. In thisprogram, students explore effective management
approaches within a variety of art fields including
fine art, music, film and new media through handson practice in project planning and management,
whilst also acquiring knowledge of the history andtheory of Arts Management. This approach helps
students understand how to form relationships withvarious institutions and key figures in society, such as
municipalities, corporations, foundations, the media,
NPOs, artists, and the public. Students also learn how
to respond to social change in order to establish a
new relationship between the arts and society andenable the development of a creative society.

The second core area is Curation. It entails findinga theme and developing a concept for an exhibition,
as well as selecting suitable artists and artworks,
and an appropriate exhibition space. The goal is to
produce and manage an exhibition in such a way thatthe ‘philosophy’ of the exhibition is communicatedvisually. Curation also involves the documentationand linguistic dissemination of artworks, as
exemplified in the catalogues, which are produced
to record the exhibition for posterity. To this end,by providing an environment in which students canacquire key critical theories on art and curation,
and also undertake exhibition planning at various
levels and in specific contexts, the Arts Studies andCuratorial Practices program equips its students withthe skills and criticality they need. Curation requires
a broad knowledge across many fields, including thehumanities, social sciences, and natural sciences.
The program also provides opportunities forstudents to analyze the relationship between the artsand society from a social sciences perspective. Areasof Research include sociology, media and cultural
studies, cultural economics, and cultural policy.
Students will examine the relationship between art
and society through literature reviews and fieldwork,
taking into account recent theoretical developmentsin this field of study. Research areas in this program
also include new topics in art and culture that are
emerging through the recent advancement of media
and other information technology.

“The Arts Studies and Curatorial Practices
program focuses on three core areas of
specialization in order to study the relationshipbetween the arts and society.”

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Tokyo University of the Arts

Summary of Master’s Course Modules
The Department of Arts Studies and Curatorial Practices offersa two-year Master’s course. And it provides core modules
consisting of lecture-based programs and seminars/projectbased practical programs. The lecture-based programs
include “Introduction to Arts Studies and Curatorial Practices ”
Course that is mandatory in the first year and “Arts Studies
and Curatorial Practices (Advanced)” that is mandatory in thesecond year. The seminars/project-based practical programs
include “Arts Studies and Curatorial Practices Seminar” thatis mandatory in the first year and “Arts Studies and Curatorial
Practices Research Seminar” that is mandatory in the second
year. Another mandatory program is “Introduction to Art
and Culture in the Global Age, “where lectures are offered in
English by visiting professors from all over the world.
Furthermore, students can choose to study additional
modules such as “Aesthetics”, “Approaches to Art Criticism”,“Asian Cultural Research” and “Introduction to Film and New
Media Study”. The department also allows the students totake classes offered at other faculties or graduate schools ofTokyo University of the Arts.

In parallel to those lectures and seminars/projects statedabove, each student will receive supervision by full-time
faculty members to develop his/her research and completea Master’s thesis. A Master’s thesis can be written either inJapanese or English. For the completion of the Master’s study,
you must choose from and hand in either of the following
options: 1. Master’s Thesis only and 2. Master’s Thesis plus
Special Research Project Report, which involves planning,
implementation and evaluation of the student’s own projects,
such as exhibitions, music concerts, art projects, publicationsetc.
In addition to the year-round regular curriculum, theDepartment also holds special lectures open to the public byguests from Japan and abroad, symposiums, and study tours
in Japan and overseas.

Sumiko KUMAKURA
Dean

Image from the “Seoul – Tokyo Arts and Cities” Workshop Trip, Visit to the Asian Art Center in Gwangju, South Korea

Graduate School of Global Arts

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Academic Staff

Arts Management

KUMAKURA
Sumiko
熊倉純子

The flows of capital have retreated from countless local towns inJapan. In these contemporary circumstances, how can art touch
people’s lives?
Since the late 20th century, across a number of locations
around the world, a new field of study has emerged. This is a fieldof study in which art and movements toward social change work intandem with each other. For various artistic forms in Japan, theseshifts––often toward social practices––have become a particularly
pronounced social phenomenon that influences artistic practiceand cultural policy.
Certain issues in Japan, have meant that ideas around “art”
are unable to be tackled through the application of Western,
modernist notions of art; notions that disregard art’s social
implications. This problematic has made the establishment of
new approaches to thinking about “art” particularly urgent.
The curriculum for my research laboratory places its pointof departure within this problematic. During the course, whilelearning about basic theories of arts management, students
will engage in practical attempts to manage art projects, as well
as develop discourses based on thesepractical projects.
“The flows of capital have
The aim of this course is to cultivate
graduates who are capable of contributing
retreated from countless
to both artistic practice and cultural
local towns in Japan. In thesepolicy. Our goal is to develop graduates’
analytical thinking, through experiences
contemporary circumstances,such as the planning and management of
how can art touch people’s lives?” projects as well as through fieldwork. This
fieldwork crosses various artistic genres
and can overlap with other areas and fields of study such as local
culture, the everyday lives of local citizens; as well as education,
welfare, and the economy.

KUMAKURA Sumiko
Dean of the Graduate School of Global Arts; Professor
in Art Management and Cultural Policy Studies. BA in
Université de Paris X, MA in Keio University (Art History
and Aesthetics). Producer of numerous regional art
projects such as the Toride Art Project, Kitamoto Vitamin,
and Art Access Adachi: Downtown Senju––Connecting
through Sound Art. She is also an adviser on cultural
policy for the Agency for Cultural Affairs and the Tokyo
Metropolitan Government. She has co-authored thebook An Overview of Art Projects in Japan: A Society
That Co-Creates with Art , Arts Council Tokyo, 2015 andsupervised the books Nihon-gata Art Project no Rekishi
to Genzai 1990-2012 (History and the Present of Art
Projects in Japan 1990-2012), Arts Council Tokyo, 2012,
and Art Project: Society that Coexists with Art, Suiyosha,
2014.

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Tokyo University of the Arts

View of GA Inaugural Symposium at the Sogakudo Concert
Hall, Ueno Campus

Arts Management

Arts appreciation and its advocacy in the 21st century are now
facing intricate transition. It is not simply because the erosionof existing media that creates and communicates value andevaluation of arts is quickly in progress, but what has brought
about by this erosion, the lapse between creators and those who
appreciate any art form impairs a constructive and cooperative
relationship between both.
This confusion, however, reveals at the same time that art
forms having their anchors in the Western world can no longer
claim their superiority over other parts of the globe. Value andcreation of the arts are therefore released from the 19th century
style leash of the Western world.
This is my understanding of what is going on in the arts,
especially in music today. From the cradle to the grave, this music is
our music, not “theirs,” “imported,” “imposed” or “brainwashing.”
To enhance the human infrastructure vitalizing the synergyof each arts sectors (theaters / concert halls / higher education/ philanthropic fund / artists / audience), the roles of arts
management are being intensified, andits expertly trained practitioners are“With the aim of balancing creation mandatory for facilitation of arts activities.
Music requires them most because it isand administration, I believe it isessential for both artists and audience to
our mission to create an Asian arena properly prepare an ideal place, equipmentof music and musicians that consists and environment for a live performancewithin a specific time frame so that bothof the global community of music on can encounter creative moments of thehighest standard.
an equal basis.”I sincerely hope that this new school
will be a place for those who are young andearnest to be experts of directing performance institutions andvenues. With the aim of balancing creation and administration,
I believe it is our mission to create an Asian arena of music andmusicians that consists of the global community of music on an
equal basis.

MINOGUCHI
Kazumi
箕口一美

MINOGUCHI Kazumi
Lecturer in Music and Performing Arts Management.
Minoguchi has extensive experience in artistic
programming and administration at performing
arts venues; Casals Hall (1987-2000), the Dai-ichi
Seimei Hall (2001-2008) and Suntory Hall (20082016). Expertise of concept making and program
building for chamber music, Minoguchi designed andlaunched Suntory Hall Chamber Music Garden in 2011.
She is also one of the earliest advocates of community
engagement programs with musicians in Japan,
and the founding coordinator of the Revitalization
Project for Public Concert Venues operated by theJapan Foundation for Regional Art-Activities. Careerdevelopment of young musicians is one of her lifelong interests. She translated and edited for Japanesereaders, Beyond Talent: Creating a Successful Career inMusic, by Angela M. Beeching.

View of Seminar by Lecturer Kazumi Minoguchi

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Curatorial practice is a practical criticism. As an act bridging theory
and practice, it entails observing and interpreting works of art aswell as various forms of cultural and social phenomena in order toproduce an exhibition. It is simultaneously the production of art
history and knowledge; and the practice of creating an opportunity
for viewers to produce new knowledge and sensibilities. In short,the job of a curator is to interpret and communicate artworks andto transpose artworks across different cultural contexts. It is also
necessary for a curator to realize that misunderstandings which
Curationarise from the cross-context transposition of artworks are notalways mistakes but can in fact, produce new interpretations.
Exhibitions create a mutual relationship promoting growth inboth the viewers and the art itself.
At the Graduate School of Global Arts, we explore new art
history, art theory, curation, and institutional theory with a focus
長谷川祐子
on museums. Through the deconstruction of cultural norms thatlargely belong to the ‘Western’ regime, wewill analyze art movements that have taken“Curatorial practice is a practicalplace in Asia, South America and Africa since1990. Through our curatorial practice, we will
criticism. As an act bridging theory
then produce new discourses and institutional
and practice, it entails observing
models concerning these art movements. In
order to grasp a general overview of this process,and interpreting works of art asguest speakers are invited from abroad. For thewell as various forms of cultural
first year, we invited Professor Bruno Latour of
Sciences Po Paris and Dr. Anselm Franke, Headand social phenomena in order toof Visual Arts and Film at Haus der Kulturen der
produce an exhibition.”
Welt, Berlin. Professor Latour is a philosopher,anthropologist and sociologist of science, who
has critically re-examined subject-oriented modernism, and Dr.
Franke, a curator and art critic, ran a curatorial workshop that
integrated research and curatorial practices.
In the second year, we plan to have guest lectures from
specialists in non-western cultures. In addition, we intend to invite
Asian and African art specialists, including artists, to give lecturesat intervals throughout the year. The GA institute is situated in
HASEGAWA Yuko
Professor in Curatorial Studies; Artistic Director of
the center of Tokyo, with easy access to innumerable local andthe Museum of Contemporary Art, Tokyo. MA in Art
international exhibitions and projects featuring art, design
History and Aesthetics at the Tokyo University of theand fashion. The institute is also blessed with an abundance ofArts. Since 2008, she has been a member of the Asianmaterial with which to carry out research into the visual arts;
Art Council at the Solomon R. Guggenheim Museum
both historical and contemporary. At GA, students will be able
(New York). She is Artistic Director of Inujima Art House
Project (2011-present) and Curator for Art Basel in Hongto have first-hand experience of every aspect of art’s production
Kong Encounters (2012-14). Her recent projects include
process, ranging from the production of traditional arts; such
Japanorama: New Vision of JAPAN from 1970 at Centre
as performance, crafts and ceramics, to the latest production
Pompidou Metz (2017) and the 7th Moscow Biennale
developments in design, architecture and media imaging.
(2017).At the 21st Century Museum of Contemporary
The course includes a practical component involving theArt, Kanazawa where she was appointed as Founding
Artistic Director, she curated Matthew Barney: Drawing
actual planning of an exhibition. This starts with research andRestraint (2005). She was Curator of the 11th Sharjah
discussion concerning a variety of exhibitions. It is followed
Biennial (2013), Artistic Advisor of the 12th Veniceby the organizing of talks, the production of catalogues andArchitectural Biennale (2010), Co-Curator of the 29th
other printed matter, and related preparation for an exhibition.
São Paulo Biennial (2010), Commissioner of Japanese
In combination with instruction concerning research andPavilion of the 50th Venice Biennale (2003), Co-Curatorof the 4th Shanghai Biennale (2002) and Artistic Director
management, the role of this graduate course is to produce a newof the 7th International Istanbul Biennial (2001). Her
discourse that originates from Asia; creating new audiences andpublications include Modern Women: Women Artists at
cultivating the next generation of world-class curators, critics andthe Museum of Modern Art (Museum of Modern Art, New
art historians.
York, 2010) and Kazuyo Sejima + Ryue Nishizawa: SANAA

HASEGAWA
Yuko(Phaidon Press, 2006).

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Tokyo University of the Arts

The curator, in my view, forms and cultivates connections withothers and their activities, and compels us to grapple withquestions that lack clear answers. The interests of a curator then,perhaps resemble the concerns of artists in their practice.
Practicing as a curator, requires an ability to acquire
knowledge from multiple disciplines in order to uncover more
about the human condition and material culture. As a practice, it
may not then be appropriate to describe curating as an occupation,
but rather as an attitude or way of life.
Curation
Looking back over the last century, I am aware that awide range of art forms have influenced my practice. These
influences have not only been in visual art, but also in film, music,
performance and architecture. Towards the end of the 1990s withthe emergence of computer and video art, I developed an interestin new media and organized exhibitions related to this medium.
住友文彦
Other exhibitions I organized at this time were also based on myresearch into the pioneers within the new media movement andconnected avant-garde movements.
Recently, while working on a project
involving the establishment of a new“What then, does it mean to use
museum, I personally witnessed the impactof the project on the local community.
the word 'global' in our age?
There seems to have been a tangible
Although older, hierarchical norms
change in the values in society and in thetendencies of stake holders. These changes
seem to dominate global culture
have enabled public policy and funds toand the market, in reality the
support forms of community out-reach art
projects that help develop connections
ground is shifting. The role of our
between museums and the people in their
postgraduate course is to attemptlocal regions. Today we witness similar
to read the shifts and quakes in this changes in many regions throughout Asia.
Since my work as curator began,geopolitical terrain.”some sizable shifts have taken place in thegeopolitics of the art world. The center
seems to have pivoted away from Western Europe. Artists andartworks from Eastern Europe, China and Asian countries such as
South Korea have become increasingly influential.
What then, does it mean to use the word “global” in our age?
Although older, hierarchical norms seem to dominate global
SUMITOMO Fumihikoculture and the market, in reality the ground is shifting. It seems
Associate Professor in Curatorial Studies; Director of
to me, that the role of our new postgraduate course is to attempt
Arts Maebashi. MA in Cultural Studies, Graduate School
to read the shifts and quakes in this geopolitical terrain.
Arts and Science, University of Tokyo. BA in Art History,

SUMITOMO
Fumihiko

University of Tokyo. As a senior curator at the Museumof Contemporary Art, Tokyo (MOT), he curated theexhibition Tadashi Kawamata: Walkway (2008) and healso worked for NTT InterCommunication Center [ICC]in Tokyo, where he organized exhibitions, Art MeetsMedia: Adventure in Perception (2005) and Possible
Futures: Japanese Postwar Art and Technology (2005).
He was also a Co-Curator of the Aichi Triennale 2013
(Nagoya), Beautiful New World: Contemporary Visual
Culture from Japan (“798” Dashanzi Art District andGuangdong Museum of Art, Beijing, 2007) and Media_
City Seoul 2010, and was the Artistic Director of Festival
for Arts and Social Technology Yokohama [CREAM] 2009
and curator for Beppu Art Project 2012. He co-edited thebook, From Postwar to Postmodern, Art in Japan 19451989: Primary Documents (Museum of Modern Art, NewYork / Duke University Press, 2012).

Image from the “Seoul – Tokyo Arts and Cities” Workshop Trip,
Visit to the Seoul National University Museum, South Korea

Graduate School of Global Arts

11

Participation in cultural activities and having a familiarity withart has value that is often derived from time spent enjoying the“consumption process”, while it is an action that is not compatible
with “time rationalism”, the idea discussed by German Sociologist
Max Weber in his book of The Protestant Ethic and the Spirit ofCapitalism. Also, as has been pointed out by Douglas North, a late
Neo-institutional Economist and a Nobel Memorial Prize laureate
in Economic Sciences, the service sector has become the center ofthe market economy, and the process of use of products or goods
themselves has become more important as a result of historical
Research
evolution.
The culture industry including the tourism sector holds animportant place in the service industry of a developed economy.
The arts and culture have formerly been considered to be totally
opposite of Economics. However, with the development of Cultural
枝川明敬
Economics, the discipline has made an approach to the other end,
and a close linkage of the arts and culture witheconomic and political institutions from the“The arts and culture have formerly perspective of the historical development are
now being reconsidered.
been considered to be totally
Thus, the arts and culture, which have
opposite of Economics. However,conventionally been discussed within thedisciplines such as Aesthetics and Art History,
with the development of Cultural
has started to interact with a wider range of
Economics, the discipline has made academic fields.
At an international seminar on advanced
an approach to the other end.”
research activities that was held in March 2016,
we discussed the relationship between art andacademic research as well as their mutual general influences.
Particularly, the focus of discussion was placed on the nature ofartworks that transcends time and space, and the differences andsimilarities in the concepts of time and space that are observedin the development of academic research. I would like to hear
students� opinions on these matters.
Since the beginning of the 21st century, the cultural policy of
the Japanese government has received wider support from thelegal system, which has impacted greatly on cultural and artistic
EDAGAWA Akitoshi
activities. This is an “institutional influence” to the construction
Professor in Cultural Policy Studies; Culturalof such activities, as Douglas North indicated. I hope a variety of
Economist. Obtained BE (Applied Chemistry) at
discussions around those topics mentioned above will take place
the Nagoya University, Master of Economics at theamong our future students during my classes.
University of Tsukuba, Doctor of Engineering in

EDAGAWA
Akitoshi

Architectonics at the Nagoya University. After working
at various organization as cultural resource specialist,
such as Officer at the Ministry of Education; Director of
the Culture Promotion Office at the Agency for Cultural
Affairs; Associate Professor of the Graduate Schoolof Policy Studies at the Saitama University; Councilorof the Higher Education Department of the Ministryof Education; Associate Professor of the National
Graduate Institute for Policy Studies; Associate
Professor of the National Institute of Informatics andProfessor at the Nagoya University, he is currently aProfessor of the Graduate School of Global Arts at theTokyo University of the Arts. His publication includes:
Management & Policy of Arts; Cultural Promotion Theory;
Theoretical Outline of Culture Policy; COMPARING Cultural
Policy (Altamila: CA.); Museum Policy Theory; Theory of
Culture Hall; Theoretical Outline of Culture Policy; The
Theories and Methods of Support for Arts and Culture.

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Tokyo University of the Arts

View of Seminar by Professor Akitoshi Edagawa

As we enter the twenty-first century, we are witnessing a critical
turning point in our history. Art and culture is no exception. New
forms of art and culture are emerging rapidly in response to theprocesses of globalization, transformations in politics and theeconomy, and developments in technology.
We should not, of course, be too optimistic. This new era could
also be regarded as a period of ‘crisis.’ Neo-liberal globalization,
the logic of late capitalism and radical developments intechnology cannot guarantee us a better future. Art and culture,
Researchand the related fields of the humanities and the social sciences,
are all facing a tough crisis. The term crisis does not, however,refer only to the deadlock point where everything collapses:
rather, as Gramsci has suggested, it is a ‘critical’ moment in whichcurrent cultural, political and economical formations are being
re-organized into a historical conjuncture.
毛利嘉孝
Our new graduate school is seeking those able to think
through new approaches in concurrent art and cultural practices
in order to overcome this crisis with “pessimism because of
intelligence, but optimism because of will.” In particular, we are
seeking those who are actively engaged in
the development of both art-cultural theory“We are greatly looking forward
and practice across inter-disciplinary fields
to working with those individuals
and with a trans-national perspective.
My main research topics are primarily
who, together, are able to study,
the inter-relations between the arts,
think and mobilize in order toculture, society and politics; grounded in
the fields of sociology, cultural studies andproduce new forms of art andmedia studies. By specializing in ‘Research’culture in this age of ‘crisis’.”you will have the opportunity to study,
for instance; the connections between
contemporary art and society, modernity and postmodernity andalso the interconnections in contemporary culture, the creative
industries, the transformation of the city, social movements andcomparative cultural studies in Asia. You will also be able to explore
topics related to your own research area within this program.
As only a limited number of students can enter this course,
we are able to create a flexible educational program that can bealigned with each student’s research theme, and their regular
lectures and seminars. We are greatly looking forward to workingMŌRI Yoshitaka
with those individuals who, together, are able to study, think andProfessor in Sociology and Cultural Studies. BA
mobilize in order to produce new forms of art and culture in thisin Economics, Kyoto University, MA in Media andage of ‘crisis’.
Communications and Ph.D. in Sociology, Goldsmiths

MŌRIYoshitaka

College, University of London. His research interests
are postmodern culture, media, art, the city andtransnationalism. His publications include: Street no
Shiso (The Philosophy in the Streets) NHK Publications,2009 (available in Japanese and in Korean) and“Culture=Politics: The Emergence of New Cultural
Forms of Protest in the age of Freeter” in Inter-Asia
Cultural Studies 6/1, 2005; “The Pitfall Facing the CoolJapan Project: The Transnational Development of theAnime Industry Under the Condition of Post-Fordism”
in International Journal of Japanese Sociology, The
Japan Sociological Society, Wiley-Blackwel 2011, No
20; “J-Pop Goes the World: A New Global Fandom in
the Age of Digital Media” in Made in Japan: Studies inPopular Music, T. Mitsui (Ed), Routledge, 2014; “NewCollectivism, Participation and Politics after the East
Japan Great Earthquake”, World Art, Routledge/Taylor& Francis, 5/2, 2015 (all in English).

View of Video Lecture by a Visiting Professor, Lawrence
Grossberg

Graduate School of Global Arts

13

Three Policies

Entrance Exam Outline

Diploma Policy
The Graduate School of Global Arts aims to train students tobecome curators and producers who understand different
genres of the arts including fine arts, music, film and new
media from multifaceted perspectives and are able to create
various opportunities for artists to exhibit and perform. We
also aim to nurture researchers who analyze cultural andsocial aspects of various artistic activities, and specialists who
propose and practice cultural policies through such analytic
studies.
With the view to nurturing advanced specialists who
can work at art and cultural institutions, businesses andgovernment offices, a master’s degree is granted to students
who have earned the number of credits required by thecredit policy of the school and have successfully passed an
examination such as a review of the Master’s thesis.

1. General information for overseas applicantsApplicants for the Master’s degree must have received a BA or anequivalent qualiﬁcation. International students are admitted toTokyo University of the Arts under the following three categories:

Curriculum Policy
Based on the School philosophy of “the bridging of theory
and practice”, students are expected to acquire a global
perspective and networking methods, which can be achievedby attending introductory and advanced lectures on basic
and applied theories, project-based practical seminars,
and seminars by guest speakers, leading practitioners andtheorists in Japan and abroad.
The program enables students to understand culturaland social situations that lie behind art events all over theworld, and to study cultural policies and cultural economics
that support relations between the arts and society, whilelearning to actually plan and implement cultural projects.
Admission Policy
The Graduate School of Global Arts seeks students who havea strong belief that they are responsible for establishing
relationships between the arts and society, and possess thecreative flexibility to energetically engage in discussions
arising around tradition and innovation. In addition, students
are expected to have a linguistic ability that is necessary fortheorization of their own academic research as well as theability to think and communicate that enable them to succeedin the internationally diverse programs.

Enrollment and Tuition Fee
3. Key dates for applications and examinations.
Master’s course (Domestic and International students): Mid-Julyto mid-September.
Successful applicants will be notiﬁed in early October.
>>For the precise schedule please see the applicant guidelines.

1. Private-funding students;
2. Japanese Government (Monbukagakusho: Mext) Scholarshipstudents (Please see below for the detailed procedures andcontact the Japanese Embassy or Consulate General in yourcountry to apply);
3. Short-term student exchange (Only available for the studentsof the universities and colleges which have signed International
Exchange Programs with the Tokyo University of the Arts.)

http://www.geidai.ac.jp/english/admin/application

Japanese Government (Monbukagakusho: Mext) Scholarships
are available for students from overseas. In addition, there
are numerous foundations oﬀering various forms of ﬁnancial
assistance. Information regarding the scholarships is available
from the Japanese Embassy or Consulate General in yourcountry of residence. Also, there is little chance of obtaining ascholarship from the University. The University is able to exercise
a fee waiver for eligible students though only in limited casesand such is not guaranteed.

>>Guidance for applicants>>The exam interview can be undertaken via skype as well as face to face. Please

36,000 Yen

Enrollment Fee

338,400 Yen

Insurance and Student
Activity Support Fee

32,430 Yen

Tuition Fee

535,800 Yen per year
1,071,600 Yen for two years

http://ga.geidai.ac.jp/en/inquiry/

4. Applicant guidelines
The guidance for applicants is available to view online. For
those considering taking the entrance examination, details of
eligibility and an application form are available here:
http://admissions.geidai.ac.jp/en/

http://www.geidai.ac.jp/english/admin/scholarships-fee-waiverdeﬀeral
http://www.geidai.ac.jp/english/admin/information-for-japanese-government->>GA website

mext-scholarship

http://ga.geidai.ac.jp/en/

http://www.geidai.ac.jp/english/admin/information-for-overseas-applicants

Entrance Exam Screening Fee

consult in advance with relevant Master’s course application staﬀ.

5. Introduction session for the new Global Arts course
Each year, there will be an introduction session for students
hoping to enter the course. At the information session thefaculty staﬀ for each of the core programs will oﬀer a main
outline of the program and explain more about the entrance
examination. This will be followed by a question and answer
session. The meeting is usually scheduled for mid June. Further
details concerning the information session will be available in
the news topics section of the GA website.

>>See below for details:[As of April 2017]

Accommodation
The University has a dormitory “Geishin Ryo” in Towa, Adachi
ward, Tokyo, that opened in 2014. It has 300 single rooms,
Students’ Exchange Salon and has easy access to Senju andUeno Campuses. Students can also look for apartments inTokyo independently.

http://www.mext.go.jp/a_menu/koutou/ryugaku/06032818.htm
http://www.jasso.go.jp/en/

2.Course, core programs and number of postgraduate
students accepted
CourseCore programs

Number of students
accepted

MPhil in Arts Studies andCuratorial Practices

Arts Management,
Curation, Research

10*Note: Applicants can only apply to join one of the three core postgraduate programs
listed above.

6. Visiting us
During the course, lectures will be held that are open to the
public. Any visitors who are interested in these events arewelcome to attend. Information regarding these events will
be announced on the GA website and on posters/ﬂyers, before
each public event.
For further, detailed information concerning the entrance
examinations please see the oﬃcial website below:>>Guidance for the university entrance examinations (oﬃcial website):
http://admissions.geidai.ac.jp/en/global-arts/graduate/

From Left to Right —— The University Gate, Senju Campus;
The University Gate, Ueno Campus; The Red Brick Hall,
Department of Music, Ueno Campus; The University Art
Museum, Ueno Campus.

14

Tokyo University of the Arts

Graduate School of Global Arts

15

Access
Senju Campus
Tokyo University of the Arts
Senju Campus
1-25-1 Senju, Adachi Ward
Tokyo 120-0034 Japan
Tel: +81 (0)50-5525-2727
Fax: +81 (0)3-5284-1574

Ueno Campus
Tokyo University of the Arts
Ueno Campus
12-8 Ueno Park, Taito Ward
Tokyo 110-8714 Japan
Tel: +81 (0)50-5525-2013
Fax: +81 (0)3-5685-7760
JR

nju S
a-se
JR K itTokyo Metro
Chiyoda Line Exit 1

Dept. ofMusic
Dept. ofTokyo National
Fine Arts
MuseumNezu Station

Tokyo Metro Chiyoda Line

Ueno Park

Access | By Train
JR: 5 min walk from Kita-senju station on the JR line.
Tokyo Metro (Underground): 5 min walk from Kitasenju station on the Chiyoda Line and the Hibiya Line.
Tobu Railway: 5 min walk from Kita-senju station on
the Tobu Isezaki line.
Metropolitan Intercity Railway: 5 min walk from Kitasenju station on the Tsukuba Express line.

tio
Sta
no

Shinobazu
Pond
Keisei Ueno Sta.
Keisei LineUe

Senju CampusnUeno Zoological Gardens

Senju
PoliceStation

JR

kaido

St.

Senju West Exit

Nikk
o-

tat ion

UenoCampus.
ta

Tsutaya

iS
an
-d
su
ui
Ug

Marui

Ueno Sta.

Tokyo Metro
Ginza Line &Hibiya Line

Access | By Train
JR: 10 min walk from Ueno station and Uguisudani
station on the JR line.
Tokyo Metro (Underground): 15 min walk from Ueno
station on the Ginza line and Hibiya line.
10 min walk from Nezu station on the Chiyoda line.
Keisei Electric Railway: 15 min walk from Keisei Ueno
station on the Keisei railway line.

Further Information
Please visit our website for more information concerning
entrance exams, lectures, seminars, events etc. Updated
information is available through our SNS as well.
http://ga.geidai.ac.jp/en/
Twitter: @GA_artproduce
Facebook: @GAartproduce©2017 Department of Arts Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts