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Notes from the Field 
Philosophy for Children and Art Workshops 

 
 
Nurşah Yılmaz and Yılmaz Murat Bilican   
 
 

 
Translated by Irmak Ertuna Howison with Google and ChatGPT 
 

ur paths crossed seven years ago when we had recently adopted the P4C (Philosophy 
for Children) method as philosophy teachers. Our shared enthusiasm for P4C resulted 
in collaborative development and facilitation of different workshops. In Izmir, where 

we reside, we became involved in workshops organized by the local government on weekends. These 
programs were specifically tailored for children aged 7-10, particularly those residing in underserved 
areas. The Ministry of National Education does not have any pedagogical approach related to 
Philosophy Education for Children. Consequently, our efforts in this area rely solely on collaboration 
with municipalities or non-governmental organizations. We initiated introductory meetings to 
elucidate the P4C method, aiming to integrate it into the activity programs organized by 
municipalities for children. Subsequently, the municipality coordinated the involvement of volunteer 
students and provided meeting venues using its internal resources. This enabled us to conduct P4C 
Workshops consistently every weekend for a period of three years. Concurrently teaching in schools 
and participating in these workshops as facilitators, we found immense inspiration in the children's 
eagerness and passion for active engagement. After depleting the widely available stimuli resources in 
our workshops, we soon found ourselves in need of fresh materials. Turning our attention to 
children's literature, both in Turkish and translations from other languages, we engaged in an 
intensive reading initiative. From this exploration, we carefully curated a selection of approximately 40 
children's books to incorporate into our investigations.  Creating content for philosophical inquiry, 
we had the opportunity to apply most of these selections. Driven by the aspiration to share our 
insights with a broader audience, we compiled our work into a book, which was published in 2019. 
 

During the Covid-19 pandemic, while conducting online workshops, we recognized the 
potential effectiveness of utilizing visual stimuli. In each session we used a work of art as a stimulus to 
initiate an inquiry using P4C methods. This realization prompted us to explore the realm of visual 
arts. Subsequently, we underwent an extensive preparatory phase, meticulously selecting works of art 
for our projects and conducting in-depth research on them. In this article, we aim to elucidate the 
rationale behind and advantages of employing works of art. Toward the conclusion of our discussion, 
we have included a practical application as an illustrative example. (Moreover, we have documented 
the applications involving works of art in a book published in 2022—see references.) 

 
 

 

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Why Art? 
 
All children inherently possess an interest in various forms of artistic expression. We use the 

term "by nature" because, owing to their age, they find themselves in the most conducive phase for 
creating, dreaming, playing games, and producing artistic outputs. Childhood, characterized by 
heightened sensory perception, marks a period when children observe their surroundings with keen 
attention, striving to learn and comprehend. Simultaneously, this heightened sensory perception 
contributes to a rich world of imagination, prompting the child to reconfigure, modify, and 
experiment with their surroundings—driven by a natural inclination to play. In this context, it is 
pertinent to recall Nietzsche, who, inspired by Heraclitus ("time is a child playing by moving the 
checkers from side to side"), discusses the similarity between the artist and the child in the quest to 
understand becoming in terms of being and change. In Genealogy of Morals, Nietzsche likens the 
activities of both the artist and the child to playing games. Both play innocently, outside the judgment 
of the moral sphere. Considering these attributes altogether, the profound connection between 
children and art becomes more apparent. Children engage with artistic creations with a freedom 
unencumbered by adult limitations. They express genuine interest, draw inspiration, emulate the 
artist, dream alongside the artist and interpret the work of art, all of which are, in a sense, a child’s 
natural inclinations. 

 
While our work with art doesn’t aim to educate details about the history of art, it still serves to 

foster the development of conceptual thinking skills through art. This endeavor is not restricted to 
children with pre-existing artistic talents; it is designed for all children. Its overarching goal is to assist 
them in forming a unique bond with life through art, expanding their worldview, fostering personal 
sensitivity about themselves and their environment, instilling an interest in various artistic disciplines, 
and cultivating an aesthetic appreciation for art. 

 
Notes about the Preparations 
 

We can say that we were quite anxious when we started. We were going to discuss artists such as 
Bruegel, Magritte, Dali, Klee, and others with elementary school children, and we couldn't predict 
how the children would react, but we were determined to try. When we completed the first workshop, 
our anxieties were replaced by new and higher goals. We decided to use P4C methodology for our 
inquiry using works of art. The children were often ahead of us with their unexpected thoughts fueled 
by rich imaginations. The initial results we obtained boosted our confidence, and we embarked on 
reproducing examples from almost all art movements, ranging from abstract expressionism to pop art 
and surrealism. We thought and discussed extensively about each selected artwork, deliberating on the 
questions we would pose to the children and their potential responses. This thorough preparation 
facilitated our work during the inquiry. We discussed and structured each selected artwork, thinking 
about the questions we would pose to the children and their potential answers. One of the most 
touching occurrences, often absent in adults, was the unbiased approach of children towards artworks 
from any movement. In most workshops, we discovered that, thanks to the children, we could reach 
entirely new concepts beyond the typical, predefined ones. Another crucial point was that our art 
workshops, compared to other P4C workshops, tended to be more energized and fun. This indicated 



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that children, by their nature, could establish an easier and stronger connection with art. The 
following section includes sample questions and children’s answers. 

 
The Artworks Selected 
 

When selecting artworks for our workshops, we did not favor a specific art movement or period. 
Our criteria revolved around the artwork being intriguing for children, capable of sparking their 
imagination, and having the potential to encourage the discovery of philosophical problems or 
concepts. We projected the chosen art works on a large scale—on the wall or smart classroom board—
in a manner designed to capture children's attention, ensuring all details of the work were visible. 
Throughout our investigations, the works we utilized were primarily paintings, occasionally sculptures, 
and at times installations. Beneath each work, we included the artist's name, the work's title, its 
dimensions, the year it was made, and the name of the museum or gallery where it is housed. 

 
Duration of the Inquiry 
 

As inquiries can occur in diverse environments and under varying conditions, determining a 
universally applicable fixed duration has proven challenging. Consequently, we have opted to be 
flexible based on specific conditions. For instance, when inquiries occurred outside of the school 
setting, we allocated a total time of 90 minutes (comprising a 15-minute warm-up activity, a 40-minute 
discussion, a 10-minute break, and a 25-minute activity). In our school-based practices, where class 
sessions are typically 40-45 minutes, we structured investigations across two consecutive lessons (the 
first lesson covering a warm-up activity and investigation, and the subsequent lesson focusing on an 
activity and evaluation). Workshops were held outside the school, in venues provided by the 
municipality or online, on weekends and in the evening. 

 
Age Cohorts 
 

In our view, art isn't something exclusively crafted for children. We limited ourselves to 
establishing the minimum age for the artwork we intend to explore. With only a few exceptions, we 
deemed it unnecessary to impose an upper age limit for nearly all the selected works. For instance, 
when an application indicated an age group of 7+, it signified to us that we could engage with any age 
range, starting from 7 years old. In our inquiries, we worked on the same piece of art with children 
aged 7-9, as well as with individuals in high school and university, and we found that it posed no issue 
whatsoever. The workshops we planned outside of school were realized with the voluntary 
participation of parents who were interested in the subject. We registered the children in advance and 
created groups according to their age ranges. 

 
Reading Artworks 
 

At this stage, we perceived our efforts as a preparation phase for us as facilitators. We scrutinized 
the stimulus artwork to identify its key elements, discern what was within the work, and pinpoint 
aspects requiring attention. We also explored the work's position in art history, seeking to understand 
the artist's perspective. The purpose of doing this was to better understand the artist's world before the 



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workshops and to better structure the investigation with this background, rather than answer the 
possible questions of curious children in an ad-hoc manner. Additionally, we formulated "preparatory 
questions" designed for the children, ensuring a collaborative examination of the work. 

 
Interpreting Artworks 
 

As facilitators, we first evaluated the selected artwork conceptually. We crafted the conceptual 
framework to unfold during the inquiry. What philosophical questions could we explore through this 
work? What concepts could we delve into? The responses we had previously formulated for these 
questions constituted the central focus of our inquiry. During the workshops, we took a flexible 
attitude towards concepts and questions from the children that we had never considered. Thus, some 
sessions were conducted within the framework of questions posed by children that we had never 
thought about.  

 
Warm-up Activities 
 

No child can instantly think and initiate a discussion about a picture spontaneously presented to 
them, let alone in a group they haven't encountered before. This is why we incorporated warm-up 
activities and games before the inquiry. For groups unfamiliar with one another, we devised 
introductory games as part of the warm-up activity. The duration of these activities was limited to 15 
minutes.  

 
Presentation of the Artwork 
 

Following the warm-up activity centered around the artwork in question, we projected it at its 
maximum size, ensuring that children could distinctly observe all the painting's details. Prior to 
transitioning to the questioning phase, our plan included a period where children would silently 
examine the work without offering any comments—simply gazing at the artwork for a minimum of 2 
minutes. Throughout the inquiry, the artwork remained visible. 

 
Initial Questions 
 

In essence, preparatory questions are aimed at a close and concentrated examination of the 
artwork and are similar across the different works we selected. During this phase, children initiate a 
connection with the artwork and engage in thoughtful contemplation. We dedicated ample time to 
thoroughly addressing these questions before transitioning to discussion questions. At this stage, we 
did not ask questions from children since the aim was to recognize and describe the work of art and 
the questions were generally in the same category.  

 
Discussion Questions 
 

While moving on to the discussion stage, we first gave brief information about the owner of the 
work, its name, the year it was made and its location. Discussion questions include questions that 
enable the child to imagine, think and interpret what they see in the work, leading them to concepts. 



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During the inquiry, it may not be possible to ask all the questions we have prepared beforehand, and 
sometimes children can change the main axis of the investigation by bringing a new perspective. 
Consequently, some inquiries were centered around the questions generated by the students. As 
facilitators, we have always shown flexibility in this regard. 

 
End Activity 

 
In this section, we include activities that we previously designed for children to reinforce the 

concepts discussed during the investigation and make them long-lasting.  
 
An example of an inquiry: Is the bird in our mind or the one in the sky more real?  
 

We showed the painting below after the warm-up activity. We encouraged children to look at 
the painting carefully and then moved on to the preparation questions. 

 

 
Paul Klee, Cat and Bird (Kedi ve Kuş). 38.1 x 53.2 cm, 1928, The Museum of Modern Art (MoMA). 
 
Location and Ages 7-9 
 

School (2nd and 3rd grade). Art museum/gallery: 7–9-year-olds who responded to an open 
invitation. In open air with underserved children, with the support of Volunteer Services Association 
through a collaboration with İzmir Painting and Sculpture Museum. 

 
Our Preparation and Interpretation Notes of the Work 
 
 

We did not share this background information with the children before or after the inquiry. 
Rather, we prepared ourselves by thinking about the work and learning its historical context. 
 

This painting reminds us of children's drawings with simple lines and shapes. Ovals for the cat's 
eyes and pupils (and more loosely for the bird's body), triangles, ears, and nose. And a tiny red heart at 
the tip of that nose is striking. The cat looks eerily watchful, but also calm. A cat's whiskers look like 
violin strings. In his painting, Klee navigated a narrow color range from yellowish brown to bluish 
green. We can think about how the painter merges with colors. In this context, it is also possible to 
read the painting by asking questions about its relationship with the painter and the colors. 



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Klee was one of many modernist artists who thought and practiced that painting "creates 
meaning in its purity." In other words, he cared about using line, shape, and color for their own sake, 
rather than describing what is visible. This priority freed him to create images that were more about 
thought than perception. In conjunction, the bird in the painting we are considering appears to be 
flying inside the cat's forehead rather than above it, the bird almost in the cat's mind. The heart at the 
tip of the cat's nose can also be seen as a sign of its desire. 

 
Interpreting the Work 
 

In order to interpret this picture philosophically, we focused on the concept of "reality.” The 
reason for this was that the bird image in the cat's head (mind) caught our eye at first glance. 
Therefore, we thought that by deepening the concept of "reality" we could move on to the distinction 
between what is real and what is mental, and from there to other related concepts. Looking at the 
painting in this light, some questions arise:  What is the difference between the bird that actually 
exists, flapping its wings in front of our eyes, and the bird that we visualize and imagine in our minds 
when it is not there? What is the difference/relationship between something happening in our minds 
and actually happening? Undoubtedly, desires and needs may also determine the cat’s idea of the bird. 
The cat's natural interest in the bird stems from its natural needs. Needs have a quality that 
determines our perception.   

 
Lesson Plan 

 
Warm-up Activity (We chose one of these to use.) 
 
Drawing a creature: Children are asked to think of a living being that does not resemble any animal 
or human they know and draw a picture of this creature. Each child shows the drawing they made and 
explains the features of the creature they designed. (20 min.) 
 
Drawing telephone game: Children stand in a circle. The facilitator shows a drawing to the first child 
and is asked to whisper what they see into their friend's ear. The child who listens tells the story to the 
next one. This continues and the last child is asked to draw what was whispered into their ear. (10 
min.) 
 
Preparation questions 
 

● What do you see when you look at the painting? 
● What animals are in the painting? 
● How do the animals look? (Angry, calm, scared, sad, attentive, etc.)  
● What shapes do you see in the painting? What do these shapes mean to you?  
● What would you title this painting? 

  
In many of our workshops, children mostly referred to the figure on the cat's head as "fish" 

because we had not yet uttered the name of the painting. In some workshops, kids didn’t view it as a 
bird at first. In cases where there was no significant change in the children after the name of the 



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painting was said, we did not insist on saying "bird". Some of the titles children came up with for the 
painting are: Angry Cat, The Cat with a Heart, Romantic Cat, Cat and Fish, Cat and Chick.  

 
Discussion Questions 
 
We prepared some of these questions in advance. Some questions were generated by students during 
the inquiry. 
 

● Where is the bird and what is it doing?  
● Why do you think the painter drew the bird there?  
● What kind of a relationship is there between the cat and the bird? (Love, friendship, 

animosity, hunter-prey.)  
● What is the cat thinking?  
● Is the bird inside or outside cat’s head? 
● Why does the cat imagine the bird? (Why is there a bird in cat’s mind?) 
● If you were to draw something inside the cat’s mind, what would it be? What about inside a 

human’s mind? 
● Is the bird in your mind, or the one in the sky more real? 
● What is the difference between the physical bird and the one in our minds (imagined birds)? 
● What does it mean to picture something in our minds? 
● How do we picture something in our mind? Can you think of examples? 
● Does something need to exist for us to picture it in our minds? 
● Can we picture in our minds something that doesn’t exist? 
● How do our needs affect our relationship with the world? 
● Can our needs make us see the world differently? 

 
In the inquiries conducted with this painting, which captivated and held the attention of nearly 

all children, we observed that the question "where is the bird?" garnered unexpectedly swift responses 
like "inside the cat's head." A small minority of children responded with "on its head." Subsequent 
questions easily led us to concepts such as thought, dream, and reality. 

 
Upon delving into the concepts of thought, dream, and reality, we noted that the children set 

aside the cat and bird and began offering examples from their own experiences. In certain inquiry 
groups, discussions veered towards the cat's needs, its fondness for the bird (expressed primarily as 
love rather than a desire to eat), or the reasons behind dreams involving the bird, such as not liking it 
or not being on good terms. At this juncture, children moved further from the concepts of reality and 
imagination, expressing their opinions on desires and needs, and provided examples of needs that 
were in their minds at that moment. 

 
Examples of Dialogues from Workshops 
 
Question:  
 

What are the differences between a bird we think of and the real one? 



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Answers: 
 

-When we think, we become more free. We think of it as we wish. 
-The bird in our thoughts can do whatever we want, we can think of it in any colors we want. 
-He can be better friends with us. 
- Our imaginary bird can be more colorful, more fun and creative than it actually is. 
- The truth may be more boring. 
 

Question:  
 

If it was a person in the painting, what would you draw on his head? 
 

Answers: 
 

-Pizza. 
-Heart, love. 
-A beautiful view. 
-The people he loves, his friends. 
-My mom, my dad. 
 

Question:  
 

Why might the painter have drawn the bird above the cat's head? 
 

Answers: 
 
- Because the bird is the cat's friend, he loves it. 
- Because he wants to catch the bird. 
- The cat is hungry. 
-He wants to play with the bird, but the bird runs away. 
 

Question:  
 

Can we think of something that does not actually exist? 
 

Answers: 
 
-Sometimes scary things come to my mind. 
-Sometimes I dream, but they don't actually happen. 
-Yes, sometimes I think about things that happen in cartoons, but they don't normally exist. 
 

Question:  
 

Are dreaming and thinking the same thing? 



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Answers: 
 

-No, because we dream of the things we want to happen. But we think about the lessons. 
-Yes, we think when we dream. 
- The place I imagine in my imagination is more complex, but when I go and see the real thing, I see that it 

becomes a more orderly place. 
 
Closing Activities 
 

Creating hybrid animals: We distributed pages with animal pictures from old magazines and 
asked them to create a new hybrid animal by cutting pieces from the animal pictures they chose. 

 
Do it like Klee:  We asked the students "If you were to paint the picture "Cat and Bird", where 

would you draw the little heart at the tip of the cat's nose. We asked them to draw cat pictures with 
hearts, inspired by Klee's painting. 
 

Conclusion 
 

When assessing the workshops conducted using Klee's "Cat and Bird" painting, we observed that 
we successfully achieved the goals set at the outset. Collaborating with the children, we explored 
concepts such as thought, reality, dream, need, and desire, fostering the ability to contemplate and 
discuss these ideas. 

 
Discussing and scrutinizing the painting in detail not only enhanced their conceptual thinking 

skills but also established a robust connection with the artwork. By the conclusion of the session, we 
were confident that the participating children would vividly remember this painting, approach other 
artworks with heightened attention, and be inclined to contemplate the meaning behind them. 

 
References 
 
Çocuk Edebiyatı ve Felsefe, Nurşah Yılmaz, Yılmaz Murat Bilican, Dinozor Çocuk Yay, İstanbul, 2020 
Çocuklarla Sanat ve Felsefe, Nurşah Yılmaz, Yılmaz Murat Bilican, Hayalperest Yay. İstanbul, 2022 
Friedrich Nietzsche, Ahlakın Soyküyüğü Üzerine, Say Yayınları, 2023. 
 

Author Information: 
Nurşah Yılmaz and Yılmaz Murat Bilican are members of the Philosophy for Children Association 


