sx LFFSZI baeTie eS Report on the Japan Cultural Envoy = =8 & Mitani Jun 4yd4 Knifejaw pet Nakamura Kaede bUSSho A! SEHK Triceratops: Imai Yudai SB MHoos House, Car: Kawamura Miyuki [ SSSRIAB RUA! wa Jam-Packed Sonobe, Cubic Watermelon; Maekawa Jun 21 ODMR Nyy ay Sane Bas a is Registration Open for the 10th Origami Tanteidan Kyushu ConventionHAP MEFS JOAS) OF — oie y ‘The Purpose of Japan Origami Academic Sccicty Ce B-H 2hmcan B-& BOfH 1. RRORMEAAHMPSE TS. 2. RRORBTORIAIL. lanen Origami Academic Society® 4. 3. FROMMIE, JOASET 6. B= SOR 1, PEG, FU OWA TU ROEROIEH, COU, 215 BBL CORE, ROT ESRUIR € OTROS WETS. 2. BOROF ROOPUERE HU BORIE. AMOR ORR, HH MICMET S GP AS, BCA, SORE, Et SER, AMOR, TT A LOWRSt BHT E. 3, BORORVBORRES, HVROUSORALOM LEH, Ff KET EMOMAE . HUMCET 6AMORRE RES ERAT S. mR Chapter I: Name and Purpose Article 1: Name 1. This society is to be called Nihon Origami Gakkai in Japanese, 2, This society 1s to be called Japan Origami Academic Society in English. 3. The abbreviated rian: of this society is TOAS. Article 2: Purpose 1. The purpose of JOAS is to promote studies of origami, diffusion of origami, snd both domestic and international association of all origami-lovers. 2.The studies of origami mentioned above includes designing, designing techniques, criticism, mathematical studies, educational studies, history, bibliography, studies of the intellecwal property rights, studies of industrial and commercial design, and so on, 4 The diffixsion of origami mentioned above includes widening appreciation of origami, expansion of the community of origami-lovers, scouting anki rearing the origami talent, and soon CAND eB @i VAOWRBS svweors ron FOLDING ——— ee, (3 “= + enue we am FMS BANS Hw Re tne cee Une tet od sr val iat ire puri vay fro one TASS inca cs tre OOS Le => > a= wat Baas Bons Merxa! ALD WHT be Hoes. A siete 180 9 2180 5 13-14 EL28 o LegisUS MADE Eis IY CS, bEIER AWATA Cubic Watermelon ZA EHOW IRE SNA LS ADOLS (I) 9B Be 6 Waterers ba 4 2000 fp I i iceeb E, Lb DET SONA O WII LOSS EDIE FED AG ED SE ilehAvHecs, 2) / 2+3)=0.320... Orbet: B1k 1 DS 1/3 OIE SIE 6 MWULED ES. Th horse 1wad Footie Co 12d Cg 1241) 0.924... (@ = Sisett) ONVUE LAB OTHE, on wr 32" 33" Bry hONS HLS 6 eo SIBD ES,PHM LON Yo AS LDL OIE BED 3 DED WAAL CHER, Vidt 3 CLET, co) La Warm Winter rar ore Fi tenhtbors Ap Heda F reece RES CAND, Ack THEO ES MMR THA, th FERN, MUPRO EERE AT ab etieeu. LPLIR USER ETD AE FHI BOAEL. 12X36 WORRIAT THOMA, ALF (kee EICHS Bib Twocure, HEROD ION RE ED TORARBS, Rb—-FENLT BARRIS 50) Rie ODT Ly ALA SEMEL CLUE ASS UC HEM CHD BH EE BT BIS MICE Ei TTS HSE, Sto TO BOROCHIC ASE) IE SEPCDMO BEI HoT, St BHAT, o FAVES OMMTHID, BK Fa TFS COMIMOT DLA VIL FARO MEE LUE OMA TBE MLV ISIE RBENS, BS AKOMOANMILOZFETH IRLICMS CEES, KiMMICK THE OMNER BOOT, Ea ete DNRETVSEE THATS, 90 x 180cmoAiseZ HoT EATS VOID AME WHS, Ber VB ALEVIEL TAPS ROML IL 2A nu chk D3, Bb CCRELT: PHRMA tA ATS AH WEDS, AFLGOA LOA : FIC MDT Mb I EM, EDBTOIL—L, BROWNS LR CIS 35, HOMEY HARBOR FRIES BOWIE RUE TRESS, ZOD ROAT IME RAGNK. EV AMES S228 RUMALG LY. ELIYA E (ELSOMRENT, MUL THI, AELAORE NA t A-F1TIL L TUB, EEYOSFE RABAT VRP TOMEI ANY aFay: SFDC EAM (AhNS. SNEAK I ERASE UALS, COME AER L Ale Ltunteonie. nrereirears 2 199 9 2620 7Origami Oods and Ends PECER Yomoguchi Makote #998) RR. pe =| House, Car ‘BE Fae Model and Diagrams by Kawamura Miyuki ROT U/YAMOCMAICH CN TAME DA AP MVOREL TREATS » (EH [ m) ox AUF (Desi MD (KAWAMURA, Miyuk) 2019/11/28 ®, HOUSE @AUxs a DERE MRE 2 BROT. LOD Use two sheets of square paper S26Re of the same size. Do the same on te ner Biwai O tren eclges. % Wall © ae HITS. Fold along the crease line and make @ box shape. “LBC Do tha same onthe upre side. ny SOLES RAS CRAOBSBAEHET By changing the ratio at the siep 5), we can create walls with different heights. 7 ® High WallAI F— Tid AISHTH) BDO BESEL CUT ARIAL, HOS ldS TA [ATA ALE 57> | AME A (info G@origaminouse EAR /Root ® ® Bem. Do the same Yf on tne backside © ®

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Let us know if there is anything we can do to improve or any further comments, Please contact our editorial Origami Tanteidan Digest Volume 30 - Issue 180 March 2020 ome at: info@origamihouse jp Table of contents (Page 7} Origami and Its Neighbors (Page 13) Close-up (Page 16) From the Bookshelves of the JOAS Library (Page 18) Here We Are, THE ORRRIGAMI TANTEIDAN (Page 35) Orisuzi( ‘Fold Creeses" ) (Page 36) Shirokujichu ( “Every Minute Origarni" ) (Page 40) Rabbit Ear Information Editor’ s Notes Translated by Marcio Noguchi (Page 7) Origami and Its Neighbors #99 — Warm Winter By Tomoko Fuse It was a warm winter. It rained in the cold, and during some days it was cheerful like spring. It was good for the, but | can’t just be happy because of the global warming. But in warm winters it's great to fold over-sized origami. When you fold a piece of paper about 1.2m x 3m, the heater will be in the way. When concentrating on the folding process, there is danger to bump to the heater, or that the paper may get on top of it. So, | was happy that the temperature was warm enough to turn it off during the folding. As | create more space in the room, | also ask the Cat to leave, although they are usually the “boss” .“OK. Let’ s start folding!” For the OROCHI (large snake) |'m folding nowy, | affix pre-creased paper, and then collapse it like a Japanese paper lantern. | paste it with some glue 10 make 2 long tube. This gluing is difficult. | can imagine how difficult it is to size paper for complex origami. Premature folds can be ruined by poor gluing. Also, depending on the paper, there is the question of compatibility with the glue, so | try several until deciding which one to use. Ihave made a large piece of Tessellation froma square by attaching two sheets of 90cm x 180cm Japanese washi paper. A few months later, when Itook it out, after a long time in the storage, the glued part showed a slight mold growth. It was probably because of the starch glue. This was a prototype commissioned by a hotel. | wondered if the final model delivered to the hotel was OK, but | had not heard of any complaints. Perhaps it was damp in the corer of the room. Glue in corigamiis tricky. The "Nozawana” (coleseed greens) planted in autumn to prepare "Toudachi-na” (flower stems) in the spring grew to some extent, spread its leaves, and hibernated. The hibernating stems were eaten by wild goats. The small field was surrounded by a net, but probably they have jumped over. In addition, the chives were picked up and they crapped all over. Dung of wild goat is glossy like gelatin coated "natto” soya beams. The leeks were not eaten. Lots of white-crowned butterflies and honeybees are attracted by the nectar of chives, so the crab spiders and praying mantis feast. Every year, | look forward to such scenes, (Page 13) Close-u Report on the Japan Cultural Envoy By Jun Mitami Short bio Jun Mitami - born in Shizuoka in 1975. Professor at the University of Tsukuba Graduate School of Information Science. Engaged in research on computer graphics. He is interested in the geometry of origami and origami study usingcomputers. During the eight weeks from October 27 to December 22, 2019, | toured as a cultural exchange ambassador for the Ist year of Reiwa, eight countries (China, Philippines, Malaysi Bangladesh, India, Thailand, Myanmar, Vietnam), gave lectures, workshops, and exhibited works ‘on origami (Fig, 1). In this article, | am providing a report on this activity. About Cultural Exchange Envoy First of all, what is the Agency for Cultural Affairs Cultural Exchange? The Agency for Cultural Affairs website presents this project as follows: The Agency for Cultural Affairs appoints artists, cultural figures, and other people related to culture as “Cultural Exchange Envoy" for a period of time. We develop activities that will deepen people's understanding of Japanese culture in the world, which will form and strengthen networks with foreign The Agency for Cultural Affairs selects the people to be dispatched, and will determine the specific schedule after consulting with embassies, consulates, the Japan Foundation, etc. about requirements for each country. To date, artists and cultural figures active in the fields of traditional music and performing arts have been dispatched to various countries around the world ina period of several months. This year, Japanese culture such as “shakuhachi" bamboo flute, Japanese confectionery, Kyoto cuisine, Kabuki, bonsai, and origami were selected as themes, and those who were deeply involved in those fields were selected. ‘didn't know much about the cultural exchange envoy program untill was approached by the Agency for Cultural Affairs at the end of 2018, So, | was quite surprised when | was contacted. After various considerations, | was honored to accept it. [had frequent visits to North America and Europe, so | aspired to visit areas |'ve never been to. So, the eight Asian countries listed at the beginning of the article were selected, Activities as the Cultural Exchange Envoy | am a university teacher specializing in shape modeling in the field of computer science, and | am interested in the geometric properties of shapes that can be made by folding a piece of paper. Among them, | have used computers to design and produce curved shapes and curved origami, and focused on pioneering new fields in origami. For this reason, the main activities at the places visited were lectures, workshops, and exhibitions of models (Photos 1, 2, and 3). In the lecture, | presented the history of origami and the engineering applications of origami, and also talked about geometric and computer-based design. it may be better to say a discourse rather thana lecture. In fact, | visited many universities, and during the lectures for science, engineering and design students, many of them were interested in the new possibilities of origami and asked many questions. After the lecture, a workshop would be held, where students were given the opportunity to create a folding paper crane, which is a symbol of Japanese origami, and to experience curved origami using pre-scored paper (Photo 4). Most of the participants were new to curve folding, and while struggling, they finally enjoyed the shape of the paper as a whole. Through the lectures and workshops, | was able to visit several countries without any problem. But initially, | was worried whether | was a good fit as the cultural exchange envoy. | thought there are much more experienced and knowledgeable individuals in the origami field, and so many more qualified names. However, after a while, | realized that | should be happy that | accepted that offer. That is because, in one sentence, that “origami is a culture that is right Now going through the process of evolution.” Of course, culture changes with time. But origami is changing and evolving at a surprising rate now. Especially after the idea and technique of “design origami” became widespread in the 1980s, the academia also became involved, anda complex and novel origami world that was completely a different dimension from traditional origami appeared. And a new era of origami spread all over the world through the Internet. Today, origami is spreading around the world, local origami community are created and at times competing with each other. Researchers from a wide range of fields are also getting involved in the academic field. Nevertheless, Japanese origami stands out from the world for its level of depth and breadth. It is in the context of Japanese origami, which is still growing, with the accumulation from the past. In such an era, | think it makes sense to present some eccentric and novel origami, which uses mathematics and computers, without being bound by the conventional concepts of origami, as an exampleof Japanese origami of today. Many people who are familiar with Japanese culture know traditional origami, such as paper cranes, and some others create amazingly high-quality models themselves. | was delighted that even those people were able to get in touch with a new type of origami this time. In addition to such lectures and workshops, there were courtesy visits to local embassies and consulates and media correspondence, so there was no time to relax and so it felt like a marathon, Although | enjoyed seeing the cityscape in various places and having a lot of fun experiences, in Bangladesh and India, sure enough, | got sick. Probably the stress caused by the differences in diet and environment was too much for me. Origami community in each country Many of the countries we visited this time were pro-Japan, and many people seemed to be interested in Japanese culture. Here are some of the interactions with the local origami community in each country. Hong Kong During my stay in Hong Kong, | visited the "Hong Kong Origami Society” and had dinner together. Among them, Mr. Kade Chan, a young designer who is active in origami design, eagerly introduces me to his efforts in creating exhibits using origarni as 2 motif as well as designing and manufacturing bags. Gave me The Hong Kang Origami Academy founded by him overwhelmed me by the breadth of their activities. On April of last year, he broke the Guinness record by teaching 1,073 origami students ata time. Malaysia As | arrived in Malaysia exactly on the Origami Day (November 11), | was able to be present at a local origami event hosted by the Malaysia Origami Academy. It was impressive that Kenneth Ch'ng, who is also the representative director, is very active in driving the origami community in Malaysia and contributing to its future development. We shared several activities in the cities of Kuala Lumpur and Penang, while he explained me about the local happenings. India Origami Oritai, an origami enthusiast group in New Delhi, holds a model exhibition at the Japan Foundation Center every December, so that was a good time for a joint exhibition (Photo 5). Origami Oritai was also awarded the Minister of Foreign Affairs recognition in the first year of Reiwa for his contribution to friendship relations by promoting Japanese culture in India. | had a chance to talk with Mr. Hitomi Asumi wha helped to establish this community, and greatly supported my stay in India. Vietnan At the Japan Foundation Center in Hanoi, | exhibited together with the models of members of the Vietnam Origami Group. In addition, one of the founding members of the group, Nguyen Hung Cuong, and other community members provided support in the workshop. Many of the models exhibited at the site were of a very high level, which surprised me (Photo 6). | heard that the “secret” was that because origami books are expensive, they fold the same model over and over, which contributed to the improvement of their technical skills. Also, by diligent application when affording time during their college days. And an environment where it could become a job. Conclusion Finally, | would like to present the happening at the Japanese Language Institute in Nam Dinh province, in the countryside of Vietnam which | visited towards the end of the tour. Over there, unlike the former high schools | gave a lecture before, a former elementary school teacher in Japan volunteered to teach Japanese, after his retirement, to the young living in disadvantaged educational environment. It was really a small school in the countryside, but the students listened eagerly and enjoyed the origami experience. The workshop also had fewer mistakes than before and was able to proceed flawlessly. Finally, as a thank you, they sung “To the Future” by Kiroro. The lyrics include the phrase “hora ashimoto 0 mite goran. kore ga anata no ayumu michi” (Look at your feet, look at this, this is your path). | was so touched by the students eagerly singing the Japanese lyrics. As such, it was a trip that was a great memory for me, with much learning. Many thanks to the many individuals who supported my activities during that period. In particular, during the dispatch period, | presented the happenings via Twitter, and | was encouraged by many people who responded, In addition, | posted the 56-day dispatch period on my daily blog, ’Mitenikki," so if you want toknow more details, please check it out. List of Figures and Photos Figure 1: Cities visited as cultural exchange envoy. The schedule was a hard, at a pace of one country per week. (Map image from Google Maps) Photo 1; Lecture scene. At universities, | also explained the geometric conditions of a solid that can be made from a piece of paper. Photo taken in Hanoi, Vietnam. Photo 2:| was invited to many universities and had the opportunity to speak about origami culture and science and technology. Photo taken in Dhaka, Bangladesh. Photo 3: Along with the geometric origami models, | also exhibited traditional origami made with Japanese washi paper. Fortunately, the models did not get worn-out during that period and could be displayed in a beautifully. Photo 4: At the workshop, participants had the experience of making paper cranes with Japanese washi paper and curve folding, For that event, 8000 sheets of pre-scored paper were prepared Photo 5: Exhibition of Origami Oritai group models at the Japan Foundation Center, visited by many Photo 6: Model by Nguyen Hung Cuong of Vietnam Origami Group, using the technique of wet folding (Page 16) From the Bookshelves of the JOAS Library Book #71: “Origami Dream World” by Kawasaki Toshikazu Article by Hideo Komatsu Hideo Komatsu = Born in 1977. Board member of the Japan Origami Academic Society (JOAS). At the time of this publication, there is an attempt to set up a bulletin board on the Internet to allow sharing the direct communication with Kawasaki himself. The author Toshikazu Kawasaki was born in 1955, An origami artist known worldwide for his series of roses known as Kawasaki Rose. After teaching at Sasebo National College of Technology in Nagasaki and Anan National College of Technology in Tokushima, he has retired and is now working on origami writing. He specializes in mathematics, and is also known as the World's First “Real” Origami Doctor, after receiving his Ph.D with the publishing of paper crane deformation theory in 1997. He has been a board member since the creation of the Japan Origami Academic Society (former Origami Tenteidan group), and many readers follow the Kawasaki's models in the “Modular Origami Quartet" series of this magazine. The book “Origami Yume (Dream) WORLD” (Figure 1) is Kawasaki's second book, published in, 2001 by Asahi Publishing Company. The first one was “Roses, Origami and Mathematics” , published in 1998 (Morikita Publishing), devoted many pages not only to the origami diagrams of his models but also to the mathematics research on origami he has been working on for many years, making it a hybrid book, and his first origami collection publication. Before diving into the contents of the book, let's first discuss the title “Origami Yume (Dream) WORLD” . Even after the publication of this book, Kawasaki has continued to publish books with Asahi Publishing Co., and has published seven books including this one. Each of the titles contains the word "Yume" (Dream| and can be seen as a series. In particular, the four recent volumes have been unified with the word “Dream origami" , and have become synonymous with his origami world. At the beginning of the book, the models are presented in color as in the case of general origami books. But, in this book, there is a composition that adds a twist. First, three diorama scene photos, “Night on the Galactic Railway” , “Spring and Autumn of the fox” , and "Sea, shallows and deep sea’ are displayed in a two-page spread, and then all the 23 models are introduced individually, in color. Except for one work ( “Otakusa” }, all models are included in the above three scenes. Looking at the models individually, the Galaxy Express, which is also on the cover, is a major work that will be the centerpiece of this book. It is called “Train” as its title, and consists of simple basic block parts. This "basic block” (Fig. 2) is made of a square tubular block made of four sheets of square paper, and can be combined with a high degree of freedom using various joint, parts. In Roses, Origami, and Mathematics, one of the three parts was used to show the basics and applications of the block, and the expression of “Train” was further developed. The width of the model is expanded by further folding and changing the block parts themselves, or foldingand processing after combining. Although there is a specific gravity to assemble as a technique, you can feel the origami “likeness* of the completed shape. In addition, the “House” is another model using this block method, which is used in the diorama of Galaxy Express along with the “Train” “Sakuradama" (Fig. 3), which is the first model as part of the collection of this book, will also become a popular model. It is a modular model made of 30 sheets of 5 by 3 rectangles. As mentioned in the book, the concept of making use of the pentagonal areas of a polyhedron (icosahedron, dodecahedron) to create a cherry blossom was inspired by Miyuki Kawamura [*]. However, this model by Kawasaki is shaped to give a different impression from Miyuki Kawamura’ s model. The connection of Kawamura's model has an angle design that presupposes that one flower is assembled with 5 parts, while “Sakuradama” has a configuration that can increase or decrease the number of parts you need. That concept is applied in “Otakusa’ (Hydrangea). Despite the mixture of five and six petals, this model gives the impression of a hydrangea when viewed as a whole, and the style of Kawasaki, who prioritizes the image over pictorial accuracy, is well represented, In addition to the above, “Rose” , “Fox” , and “makikai SeaShell” presented in “Top Origami” (Kunihike Kasahara, author; Toshie Tekahama, supervisor; 1985), are masterpieces that made Kawasaki's name famous. Of course, the folding sequence diagrams were created by Mr. Kawasaki himself, and there are differences in the process expression and processing of details. (Although “Space Shuttle” and “Sazae Turban-Shell" have the same motif in “Top Origami” , they are completely different models) One of the features of the origami models by Kawasaki is that it emphasizes the physical characteristics and texture of paper and makes the most of it. Some examples from this book are “Snowflakes” created for ceramic art paper (a special paper developed by the Origami Ceramics Center that can be folded and blazed to. make ceramics). And the two sheets “Gonzui Striped Eel Catfish” (Fig. 4), in which the application of the displacement, which occurs naturally due to the thickness of the paper to shape into a striped pattern, is remarkable. Furthermore, as part of the process of “Fox Cub” , the edge of the paper an the back side Is transferred to the front layer by applying a soft rub, becoming a reference point. Itis an unusual technique, but quite effective, Kawasaki Origami's emphasis on representative folding diagram, including the ingenuity of the folding process, is another noteworthy point. It seems that the fold process that allows the model to be completed steadily and the folding process that has a sense of rhythm and that is easy to remember are selected rather than the folding process that is just easy to illustrate and draw. These may sometimes be difficult to be illustrated, but in the diagrams of this book, various expressions that expand the breadth of knowledge are sought and introduced. By explaining the use of fingers, photos, schematics, and using cautionary notes and supplements such as speech callouts (Fig. 5), itis possible to follow the process as if it was a face-to-face lesson rather than just a book. Most probably, it may be that his experience as a teacher is also used in organizing the information to be transmitted. In the afterword entitled "Origami, Fun Inside and Outside” we can understand the background on the efforts of this book. The author mentioned that origami and mathematics have in common that they can do everything from one to ten by themselves without relying on people and tools. And states that this is a “world that can be enjoyed by oneself” , which is expressed as “fun in the square.” He expands his explanation: “The Fun outside the square. That is something which took 15 years to realize." It seems that he was surprised at how many people could fold his models in ‘Top Origami” . With regards to the “Fun outside the square,” he states that “by being ‘taught and by teaching how to fold, we can communicate across languages, religions, and borders,” and “everyone can easily get it.” Borrowing from this expression, it can be said that one of the activities to deliver origami models created as “fun inside the square” and distributed as “fun outside the square” is the production of origami diagrams. Kawasaki, through his own experience, thinks that he came to understand the importance of the method of expressing origami, which is the point of contact between inside and outside, The writer of thisarticle (Komatsu) is strongly sympathetic of such thinking. [*] “Sakura” by Miyuki Kawamura, 1996, “Fourth Origami Tanteidan Convention Annual Collection” , 1998 List of Figures: Fig. 1:125 pages, BS size. In the jacket of the first edition: “Wow! Is this really origami?” Fig. 2: Basic Block Fig. 3:“Sakuradama” Fig. 4: Gonzui Striped Ee! Catfish Fig. 5: Excerpt from the diagram “Makikai Spiral Shell” . Detailed description of Spread sink technique (Page 18) Here We Are, THE ORRRIGAMI TANTEIDAN This section will explore a wide range of topics related to origami and introduce you 10 some little interesting trivia facts. We also accept questions, and additional information from readers. Please, feel free contact us via email webman@origami.grjp. #46 - Origami Classes at Elementary School By Tomoaki Ono Tomoaki Ono = Born in Osaka in 1978, raised in Yokohama and now living in Tokyo. A member of the Japan Origami Academic Society JOAS) and a certified origami instructor. Patent attorney. Opened a patent office in 2019. Researching origami copyright during his free time. Trivia 1: Many people don’ t know how to fold the traditional paper crane. It is also.a mode! that is difficult to teach, Trivia 2: The qualification (title) of an origami instructor is accompanied by credibility and trust. Background of request for classes The starting point was a conversation at closing party with the local people who helped me when Iran the Intellectual Property Seminar of the Patent Attorneys Association in Bunkyo-ku, Tokyo last February. As a matter of fact, the chairman of the shopping district in Bunkyo Ward was searching for a theme that would excite the locals at a shopping district event to be held in the fall. | was not aware of the event, but I was interested in the topic, and so | brought out the fact that “Bunkyo-ku is a hot center of origami* After that talk, origami was officially adopted as one of the themes of the shopping street event, and so | received a request far cooperation in late May last year. The request was for (1) the coordination of an origami workshop and the display of origami models on the day of the event, and (2) guidance on origami classes (or workshops} at a nearby elementary school, prior to the event, At that point, | consulted JOAS Secretary-General Makoto Yamaguchi and board member Seiji Nishikawa, and received many valuable and helpful advice on how to proceed in the future, The report of that event, “Wasawa Yokocho Festival,” was published in Origami Tanteidan Magazine (Issue 178] ‘Tsumamiori’ . in this article, | would like to describe my experiences teaching at elementary schools. Structure of the event implementation A total of seven elementary schools were visited. Two of these schools (Kantomi Elementary School in Bunkyo Ward and Edogawa Elementary School in Shinjuku Ward) have requested a parent-child workshop format on weekends. The target audience was from first to fifth grade students. A table (booth) was set up for each origami model for 90 minutes, and children could fold their favorite origami models. On the other hand, the other five schools had requested to conduct in lesson format as part of their regular classes. With regards to the school names and detailed format: Bunkyo Ward Sekiguchi Daimachi Elementary School (5th grade, 2 individual classes, 45 minutes each, classroom format), Taito Ward Senzuka Elementary School (3rd grade, 2 classes, 45 minutes each, classroom format), Bunkyo Ward Kohinatadaimachi Elementary School (3rd grade, 3 individual classes, 45 minutes each, classroom format), Taito Ward Asakusa Elementary Schoo! (4th grade, 2 classes, 45 minutes each, classroom format) . Lastly, Taito Ward Fuji Elernentary School held two classes for third graders, a total of 100 minutes, and the venue was ina gymnasium, The first step in the sequence of a class format was to include a “Lecture” to introduce the