The teachers are cool seniors creators who drive Japanese culture and are active globally. The discussion on the importance of next-generation education by four individuals in their thirties is relevant across various fields.

The teachers are cool seniors

Musicians Fumitake Ezaki, curator Yu Takagi, and architect Eri Tsugawa are actively engaged in developing creative talent within their respective fields. Leading this movement is GAKU, overseen by Yuta Takeda, CEO of LOGS.

At Shibuya PARCO, home to GAKU’s classroom, enthusiastic teenage students gather daily. This school offers students the opportunity to be inspired by encounters with slightly older professional creators, whose experiences can serve as a starting point for their future endeavors. Classes, held in small groups of around 10 students, run for approximately half a year, allowing students to refine their skills through collaborative projects with professionals.

Esaki, Takagi, Tsugawa, and GAKU founder Takeda, who teach at GAKU, have witnessed numerous instances of student transformation through education. In this roundtable discussion, these four individuals come together to discuss the importance of educating teenagers and the challenges in cultivating creative talent.

Yu Takagi (referred to as Takagi hereafter): First, let’s discuss why we teach. The role of a curator is not widely understood among young people. There are few opportunities for them to encounter curation, with Tokyo University of the Arts being the sole national institution offering curation studies. Therefore, I wanted to create a platform for emerging curators by taking on a teaching role.

Fumitake Esaki (referred to as Esaki hereafter): Unlike curators, music is something familiar to us. However, there’s a historical neglect in school education regarding the joy and expression found in music. During the Meiji Restoration, music was introduced into public education to embrace Western culture. More than 150 years later, this policy remains largely unchanged. With advancing technology enabling anyone to create music, I strongly advocate for reimagining music education as an avenue for self-expression. This is why I aim to create such an environment for my students.

Eri Tsugawa (referred to as Tsugawa hereafter): Previously, I served as an educational research assistant at Tokyo University of the Arts and now teach as a part-time lecturer at several universities, including Waseda University. I have a passion for “exploration” with my students.

I teach a course titled “(Non)Fictional Urbanism – Observing and Experimenting with Cities,” which centers on urban environments. The reason I chose this theme is that cities are conceived by understanding their outcomes and intentions. I’m curious to see what ideas emerge when viewed purely from a child’s perspective. While architecture traditionally involves fulfilling commissions, there’s a growing demand for architects to explore and innovate within the city’s possibilities. This is why I emphasize co-creation with my students.

Yuta Takeda (referred to as Takeda hereafter): In my case, I’d like to discuss why I started GAKU. When I asked creators how they chose their career paths, many replied, “I was influenced by an encounter during junior high or high school.” They often mentioned receiving pivotal guidance. Essentially, it’s crucial for young people to encounter “positive adults” during these formative years.

However, modern Japanese junior high and high school students are overwhelmingly busy with studies, club activities, and classes. Their social circles are limited, making it challenging to connect with adults who can positively impact their lives.

At GAKU, we’ve structured our classes to foster frequent interaction between students and creators who serve as instructors. With small class sizes of about a dozen students, instructors can remember each student’s name and have a lasting influence. Over approximately six months of classes, students develop and present their own projects, receiving feedback from both society and instructors. When making life decisions, receiving professional evaluations and taking feedback seriously are pivotal steps.

The teachers are cool seniors! Witness the “origin” of creativity

Takagi: While teaching at GAKU, I often witness transformations in the children. At The 5th Floor, I oversee a class called “CO-CURATING,” focused on creating special exhibitions. Last October, we hosted an exhibition at the Yurakucho Building, showcasing everyone’s true potential.

The exhibition’s theme was “Before Dawn.” After interpreting this theme individually, each student curated their chosen works. They even wrote letters to the artists, inviting them to participate. The impact of these letters was remarkable. One student approached artist Mr. Chiro Takahashi and asked, “Would you like to collaborate on something like this?” Surprisingly, Mr. Takahashi embraced the idea and created a new artwork for the exhibition, despite the short notice. As a result, approximately 300 people attended over three days, and the event garnered enthusiastic feedback.

Ezaki: That’s amazing!

I teach a class called “Beyond the Music,” where we explore areas like language, culture, history, physics, ethnicity, and technology through music. After the lecture period, students delve into producing and releasing music.

As the number of classes grows, not only does the output noticeably improve, but I also sense a personal liberation in each student. Moreover, in the GAKU classroom, I connect with friends passionate about music production, inspiring mutual creativity. It’s an opportunity for me to think, “Next time, let’s collaborate on something like this.”

Tsugawa: At GAKU, instructors and students share a close age proximity, fostering a more equal relationship where instructors often learn from the students. I strive to engage humorously with teenagers. In my professional life discussing cities, I choose my words carefully, but at GAKU, my focus is on making the subject captivating. This approach leads me to discover new perspectives through our interactions. That’s why I find teaching at GAKU rewarding, even amid a busy schedule.

Takagi: Indeed, I’m continually learning from my students as well.

The presence of a “senior” who is a little older is the key

Esaki: When I reconsider what’s necessary to cultivate creative talent, I believe it’s crucial to have individuals who aren’t strictly students or teachers but occupy an intermediary role.

Takeda: I agree. The term “sou” in creation signifies both “beginning” and the “sou” in bandage. Initiating something independently can lead to emotional wounds if it doesn’t succeed as expected. Along the way, one might realize their creation deviates significantly from their ideals. How do we address the emotional toll during such times? Mental health issues among teenage creators are a challenge we’re tackling at GAKU.

At GAKU, our staff act as mentors, providing personalized support to each child. I strongly believe this is a responsibility that management must address.

Esaki: Previously, I was involved in a project where American university students taught classes to Japanese high school students. During that time, these university students referred to themselves as “senpai” rather than teachers. Observing this, I realized that learning from teachers in a classroom setting differs greatly from learning from peers who are a bit further along in their journey.

Esaki: If you strengthen the layer of seniors, any instructors above them will improve as well. Even if a master comes to teach, there should be a senior intermediary between them and the students. While masters may seem intimidating, you can continue creating while receiving guidance from your seniors. In my classes, I sometimes invite guest lecturers with extensive careers, hoping they can serve as senior instructors.

Takagi: In the realm of formal education, there are no adults acting as seniors. Art museums have roles like docents and mediators, bridging art and audiences (such as explaining special exhibition contents), but schools lack such roles. This is essential for nurturing creative talent. Once again, I thought about how I could become a valuable senior.

I hail from a rural area in Kyoto, where cultural facilities were scarce. Thus, I never had the chance to learn about creation initially. I wish there were a GAKU accessible in every prefecture, akin to convenience stores.

Takeda: That’s true. I once had the opportunity to speak with fashion designers, many of whom said things like, “I became a designer because I was inspired by someone cool working at a local second-hand clothing store.” So, it might not just be frontline creators who have an impact on children. If influential individuals in local communities start establishing educational hubs like GAKU across the country, Japan’s landscape could change dramatically. Creators are the cultural capital that supports Japan’s growth.

Takagi: I hope GAKU becomes a model case for creative “terakoya.”

Ezaki: I also want to organize local tours. People born and raised in Tokyo have had the chance to see top international artists since childhood. In contrast, those like me from rural areas spend money and time traveling to Tokyo just to see foreign artists for the first time. It’s always impressive, of course. However, back home, I had no one to share that excitement with. Despite technological advances, I believe there are still emotions best shared in person. Hence, I aim to develop local creative talent for those who might find themselves in a similar situation as I once did.

Takagi: Additionally, I’d like to establish an art museum in the future, a place where one can meet inspiring seniors and diverse individuals.

Tsugawa: Certainly, the desire to increase creators is crucial, but shouldn’t we also consider the limited number of recipients?

Takeda: The recipient is also crucial. For instance, in the realm of art, economic value is created only when museums and collectors assign a value to the artist’s work. Merely creating a piece doesn’t inherently add value. Cultural projects thrive through the appreciation of the recipients.

Takagi: My class focuses on conveying the value of artworks, so in a sense, it’s aimed at the “recipient.” Curators must take responsibility for their preferences. In the “Lesson on Taking Responsibility for Your Likes,” students delve into not just art history but their personal histories to understand why they’re drawn to particular works.

Takeda: It’s significant, isn’t it? Japanese often want to ask artists about the meaning behind their work, but once they do, the work’s value is restricted to the artist’s intent. When viewers start appreciating artwork based on their own standards, it gains value beyond the artist’s creation.

Tsugawa: I want students receiving creative work to confidently express their thoughts without hesitation. It becomes intriguing when students’ outputs leave a mark in their specialized fields.

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