In November 1956, Urasenke and five contemporary ceramic artists collaborated to reorganize a tea ceremony using new ceramics. If the tea ceremony is based on a comprehensive formative presentation of daily life crafts, then the tea ceremony should be in a leading position in the modern craft movement itself in a broad sense. The reality of the tea ceremony, however, is that the traditional formality of the tea ceremony is respected by the ten craftsmen, led by the head of the tea ceremony, and has nothing to do with the modern crafts movement. This is partly due to negligence on the part of the tea ceremony masters, but it must also be said that the responsibility lies on the part of the new craftsmen. It is necessary for the craft artists to question the meaning of their own work to the tea ceremony and to listen to the positive response from the tea ceremony side. This reflection on the part of the artists led to a new exhibition of ceramics in the form of a tea ceremony, with the cooperation of Sen Soshitsu, the 14th head of the Urasenke School of Tea, and the main members of the Association of Traditional Crafts: Ishiguro Munemaro, Arakawa Toyozo, Kato Tokuro, Kato Doji Moe, and Kinju Touyou. In other words, a tea ceremony featuring works by the five artists was held at the Urasenke Tea Ceremony Hall and in each of the tea rooms, raising experimental questions about the nature of crafts as tea utensils. This movement raised major issues in the tea ceremony and craft worlds, and continued until 1965.
