







































Education, Society and Human Studies 
ISSN 2690-3679 (Print) ISSN 2690-3687 (Online) 

Vol. 2, No. 1, 2021 
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1 

Original Paper 

Elementary School Students Approach the Pontian Greek as a 

Refugee within the Drawing Activity 
Konstantinidou Zoe1*, Fotiadis Konstantinos2 & Konstantinidou Parthena 

1 International Hellenic University, Thessaloniki, Greece 
2 University of Western Macedonia, Florina, Greece 
* Konstantinidou Zoe, International Hellenic University, Thessaloniki, Greece 

 

Received: November 15, 2020   Accepted: November 24, 2020   Online Published: December 9, 2020 

doi:10.22158/eshs.v2n1p1                         URL: http://dx.doi.org/10.22158/eshs.v2n1p1 

 

Abstract 

Children tend to express themselves in detail through the design activity since they greatly lack linguistic 

and verbal competence. In the present study, we gathered and analyzed the drawings of elementary 

school students, aged 8-12, (total num = 110) to explore their views and thoughts for the Pontian Greeks 

as refugees. The drawings were collected during their visit to a multi-themed exhibition regarding the 

culture of the Black Sea and they were analyzed based on their content. The results show that children 

approach the Pontian Greek refugees with sensitivity and empathy, while gender and origin influence the 

presence of cultural elements and symbols that refer to the Pontian Greek Genocide and the exile that 

followed. 

Keywords 

refugee, design activity, education 

 

1. Introduction 

The design activity as a free means of expression and communication constitutes rich educational 

material with cognitive content (Fineberg, 1998) and is a remarkable way to explore children’s thoughts, 

feelings, attitudes, knowledge and experiences (Gika, Athanasopoulou, & Damianaki, 2015). It is one of 

the many “languages” through which children can narrate stories that would otherwise remain unknown 

or fragmentary (Kress, 1997; Pahl, 1999). Children’s drawings are said to be a “window” for their 

thoughts and feelings, mainly because they reflect an image of their mind (Thomas & Silk, 1990), giving 

them, at the same time, the opportunity of visualization (Brechet & Jolley, 2014). They give children the 

opportunity to think, organize and express issues that concern them. Children’s depictions in their 

designs can have both conscious and unconscious content; they can reveal many aspects of themselves 



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while they are purely personal creations of great importance (Golomb, 2002). 

Various surveys suggested that students’ drawings could be used as great diagnostic tools to check 

students’ understanding of an issue (Glynn & Duit, 1995; Dove, Everett, & Preece, 1999). For this reason, 

special attention should be paid to the way we evaluate and interpret drawings as it is one of the main 

ways of expressing children’s concerns and even their inner perceptions (Rollins, 2005). According to 

Matthews (2003), children’s drawings are often the result of a combination of different types of 

knowledge that are encoded in various systems. It is therefore important to observe how children 

compose, decompose and transform information and how they structure and verify mental 

representations (Karamolegkou, 2017). Through the design activity, children capture what they see in 

their own way of perception (Wright, 2001). According to Goudnow (1977), children’s drawings is a 

means of communication, a message itself, a code, a way of getting in contact. Teachers, therefore, are 

asked to decode all this information in order to receive the message (Cox, 2005) and, then, use it 

properly in the educational activity. In the present study, children’s drawings sought to be used as a tool 

for understanding and approaching their views and ideas for Pontian Greeks as refugees. 

 

2. Method 

2.1 Sample 

This paper presents information collected by elementary school students who attended an educational 

program of a multi-themed exhibition titled “Pontus: We have the right to remember, we have the 

obligation to remember”. The program aimed at children aged 8-12 and included a tour in various theme 

collections (maps, objects, sculptures, works of art, audiovisual material) and some experiential actions 

and follow-up discussions. After two weeks, students were asked to capture their thoughts about Pontian 

Greeks as refugees through the design activity. 110 out of 1200 students’ works were randomly selected 

for the present study (Table 1). 

 

Table 1. Demographic Characteristics of the Sample 

Gender Ν % Accommodation area Ν % 

Boys 46 41.8 No Pontian 25 22.7 

Girls 64 58.2 Pontian 85 77.3 

Total 110 100.0 Total 110 100.0 

Class Ν % Origin Ν % 

C primary (8-9 years old) 14 12.7 Pontian 45 40.9 

D primary (8-9 years old ) 28 25.5 Asia Minor 8 7.3 

E primary (10-11 years old ) 24 21.8 No Pontian 57 51.8 

ST primary (11-12 years old ) 44 40.0 Total 110 100.0 

Total 110 100.0    



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2.2 Research Tool 

Students’ drawings were collected and analyzed according to Kress’ and Leeuwen’s (2010) model. It is 

about the visual semiotics which incorporates visual representation within a theoretical framework of 

social semiotics, emphasizing the creation of points. Point makers use the appropriate forms to express 

what they want, depending on the context in which a point is produced (Kress & van Leeuwen, 2010, p. 

51). This tool is considered the most suitable one for collecting data as it allows the participation of all 

students, regardless of their verbal and graphic difficulties (Kapoulitsa & Troulou, 2007, pp. 152-153). 

It is considered a deliberate process of creating meaning as it helps children to represent their thoughts 

more directly (Vamvakidou, Kyridis & Bessas, 2005, p. 54; Trouli et al., 2015, pp.4-5). 

2.3 Codification 

Content analysis followed. According to Berelson (1971), content analysis is used to study the views and 

perceptions of an individual or a group of individuals. Using this type of analysis, we try to have an 

objective, systematic and quantitative description of the obvious content of communication, written or 

oral speech, with ultimate goal the right interpretation (De Sola Pool, 1959). Then, thematic analysis 

followed, with the aim to identify, analyze and report the various issues that arise through data (Braun 

& Clarke, 2006). This tool was employed to combine quantitative and qualitative data, so as to detect 

and record specific forms of social interaction, historical and cultural elements and social ideologies 

(Bardin, 1977; Grawitz, 1981; Moscovici, 1970; Mucchieli, 1988; Veron, 1981). 

 

3. Result 

According to students’ drawings, they expressed their inner thoughts that were closely related to the 

history of Greeks in Pontus using scenarios. Evidence and information from the historical period of the 

Pontian Greek Genocide and the exile of these people were more often observed, while the use of 

elements-symbols was also evident, emphasizing cultural, social and religious information (Table 2). 

 

Table 2. Descriptive Characteristics of Children’s Drawings 

Category Subcategory Data/Information 

Cultural elements  Local costumes, musical instruments 

Category  Genocide  

 

 

Images from the Genocide history 

Immigration 

 

Refugees, People who are forced to move (on 

foot, by train, by ship) and leave their 

homeland 

Cultural elements Flags, laurel plant, olive trees 

Special Gender  Women, men 



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elements/Symbols Refugee  Misery, hardships, forced/reluctant movement 

of people, uprooting 

Religion  The cross, the church, religious icons  

Social class Contradictory images of people in power and 

people under submission 

Tribe  Through local costumes 

 

  
Boy, 11 years old. In his drawing, he depicts the 

forced and reluctant movement of Pontian 

Hellenism. The use of cultural elements (flag) is 

characteristic. 

Girl, 9 years old. In her drawing, she depicts a 

mother with her child who are forced to leave 

their homeplace. Emotional data (tears) and 

cultural elements (black clothes, headscarves) are 

used.  

Figure 1. Student’s Drawings Concerning Refugee 

 

 

Girl, 12 years old. She divides 

her work into individual sections 

where in each of them she 

depicts moments and images 

from the history of the Genocide 

in combination with 

representative symbols (flags, a 

map, the cross, laurel wreaths). 

Figure 2. Students’ Drawings Referring to the Pontian Greek Genocide 

 

 



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Boy, 9 years old. His drawing depicts dancers 

dressed in traditional Pontian costumes and dance to 

the sound of the lyra, a traditional musical 

instrument of Pontus. 

Girl. 10 years old. She emphasizes cultural 

elements such as the Pontian women’s costumes 

and Pontian musical instruments (lyra, daouli) 

which she chooses to encircle with flames, 

emphasizing the destruction that the greek culture 

from Pontus has suffered. 

Figure 3. Students’ Drawings Referring to Cultural Features 

 
Content analysis of children’s drawings revealed three main categories, namely the existence of a 

scenario in children’s drawings, the existence of elements-symbols and the presence of cultural elements. 

The existence of a scenario was overwhelming (N = 89.1%) and was analyzed in three sub-categories 

which concerned the reference to the genocide (N = 38.2%), the reference to refugee (N = 42.7%) and the 

reference to cultural elements (N = 19.1%). Rather important was also the existence of 

elements-symbols (N = 73.6%) which was analyzed in five subcategories, the elements-symbols a) of 

race (N = 80%), b) of gender (N = 56.4%), c) of refugee (N = 35.5%), d) of social class (N = 20%) and 

e) of religion (N = 10.9%) (Table 3). 

 

Table 3. Descriptive Characteristics of Children’s Drawings 

Scenario Ν % OBJECTS-SYMBOLS Ν % 

With scenario  98 89.1 With scenario  81 73.6 

Without scenario 12 10.9 Without scenario 29 26.4 

Total  110 100.0 Total  110 100.0 

GENDER 

ELEMENTS/-SYMBOLS 
Ν % 

RACE 

ELEMENTS/SYMBOLS 
Ν % 

Present 62 56.4 Present  88 80.0 

Absent 48 43.6 Absent 22 20.0 

Total  110 100.0 Total  110 100.0 



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Investigating the possible impact of different variables statistically, we observe significant differences in 

gender and origin in relation with the existence (sig = .023, sig = .033 p <.05), the number of 

data-symbols (sig = .011, p <.05), the gender symbols (sig = .002, p <.05) and the refugee symbols (sig 

= .001, p <.05) (Table 4). 

 

Table 4. Statistically Significant Differences per Factor 

Factor GENDER Df F Sig. 

Category 

between groups 1 

11.450 .001 within groups 108 

Total 109 

Elements- Symbols 

between groups 1 

4.681 .033 within groups 108 

Total 109 

Numerous elements- Symbols 
between groups 1 

6.779 .011 
within groups 108 

IMMIGRATION  

IMAGES-SYMBOLS 
Ν % 

SOCIAL CLASS 

 IMAGES-SYMBOLS 
Ν % 

Present 39 35.5 Present  22 20.0 

Absent 71 64.5 Absent 88 80.0 

Total  110 100.0 Total  110 100.0 

RELIGION 

OBJECTS-SYMBOLS 
Ν % 

CULTURAL 

ELEMENTS 
Ν % 

Present 12 10.9 Present  51 46.4 

Absent 98 89.1 Absent 57 51.8 

Total  110 100.0 Total  110 100.0 

CATEGORY Ν % 
TOTAL NUMBER OF 

ELEMENTS/SYMBOLS 
Ν % 

Genocide 42 38.2 0 30 27.3 

Cultural elements 21 19.1 1 34 30.9 

Immigration  47 42.7 2 24 21.8 

Total  110 100.0 3 16 14.5 

   4 4 3.6 

   5 + 2 1.8 

   Total 110 100.0 



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Total 109 

Gender Elements-Symbols 

between groups 1 

10.264 .002 within groups 108 

Total 109 

Immigration Elements-Symbols 

between groups 1 

12.331 .001 within groups 108 

Total 109 

Factor ORIGIN Df F Sig. 

Elements-Symbols 

between groups 1 

5.341 .023 within groups 108 

Total 109 

 

Analyzing correlations between factors and variables, we observe that gender influences the presence of 

elements-symbols in children’s drawings. Most drawings contain one up to three elements-symbols (N = 

67.2%), few contain more than three elements-symbols (N = 5.4%), while many do not contain any 

symbols at all (N = 27.3%). More girls use at least one element-symbol in their drawings (N = 46.4%) 

compared to boys (N = 26.3%), while boys do not seem to use symbolic elements (N = 15.5%) compared 

to girls (N = 11.8%) (Table 5). 

 

Table 5. Correlations between Factors and Variables (Gender-number of Elements/Symbols) 

CATEGORY SUBCATEGORY GENDER TOTAL 

  BOYS GIRLS   

 0 17 13 30 

    15.5% 11.8% 27.3% 

  1 18 16 34 

    16.4% 14.5% 30.9% 

  2 5 19 24 

DIFFERENT 

STEREOTYPES 

  
4.5% 29.7% 21.8% 

  3 4 12 16 

    3.6% 10.9% 14.5% 

  4 1 3 4 

    0.9% 2.7% 3.6% 

  5+ 1 1 2 

    0.9% 0.9% 1.8% 



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TOTAL 46 64 110 

  41.8% 58.2% 100.0% 

 

More specifically, it seems that more girls than boys include elements-symbols in their drawings (N = 

47.3%), concerning both gender (N = 40%) and refugee (N = 28.2%). On the other hand, boys tend to 

avoid including refugee symbols (34.5%) (Table 6). 

 

Table 6. Correlations between Factors and Variables (Gender-type of Data/Symbols) 

CATEGORY SUBCATEGORY GENDER TOTAL 

  male female   

Elements-Symbols Present 29 52 81 

    26,4% 47,3% 73,6% 

  Absent 17 12 29 

    15,5% 10,9% 26,4% 

Gender Elements-Symbols Present 18 44 62 

    16,4% 40,0% 56,4% 

  Absent 28 20 48 

    25,5% 18,2% 43,6% 

Immigration Elements-Symbols Present 8 31 39 

    7,3% 28,2% 35,5% 

  Absent 38 33 71 

    34,5% 30,0% 64,5% 

Total 46 64 110 

  41,8% 58,2% 100,0% 

 

Analyzing the categories and subcategories of drawings’ content, we observe that students refer mainly 

to the Genocide (N=38.2%) and the refugee of Greeks of the Black Sea (N=42.7%) and less to the 

cultural elements (N=19.1%). Boys include more information of the genocide in their drawings (N = 

22.7%), compared to girls (N = 15.5%), who mainly focus on the refugee/immigration section (N = 

31.8%) (Table 7). 

 

 

 

 

 

 



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Table 7. Correlations between Factors and Variables (Gender-category) 

CATEGORY SUBCATEGORY GENDER TOTAL 

  male female   

Category  Genocide 25 17 42 

    22,7% 15,5% 38,2% 

  Immigration  12 35 47 

    10,9% 31,8% 42,7% 

  Cultural elements 9 12 21 

  8,2% 10,9% 19,1% 

Total  46 64 110 

  41,8% 58,2% 100,0% 

 

Finally, with regard to the “origin” factor, we observe that more elements-symbols are used by students 

of Pontian origin (N = 60.9%), while students of non-Pontian origin share between integration (N = 

12.7%) and non-integration at all (N = 10%) concerning some elements-symbols in their drawings (table 

8). 

 

Table 8. Correlations between Factors and Variables (Origin-symbols/Elements) 

CATEGORY SUBCATEGORY ORIGIN TOTAL 

  Pontian  No Pontian   

Symbols/elements Existence  67 14 81 

    60.9% 12.7% 79.6% 

  No existence 18 11 29 

    16.4% 10.0% 16.4% 

TOTAL 85 25 110 

  77.3% 22.7% 100.0% 

 

4. Discussion 

From the above examples we clearly notice that the design activity maintains a language of 

communication for children, through which they easily share thoughts and ideas that they may not have 

expressed otherwise (Kress, 1997; Pahl, 1999; Konstantinidou et al., 2019). Images constitute a means of 

non-verbal communication, allowing us to interpret it in various, different ways (Kiridis, Vamvakidou, & 

Daskalaki, 2009). 

Kirova (2006) suggests that indirect activities, such as drawings, are particularly useful for young 

children, as they help them express their thoughts on issues that they know little or they just have some 



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abstract perceptions about. Drawing is a tool through which children can visualize their mood, emotions 

and thoughts (Brechet & Jolley, 2014; Jolley, 2010). All art expressions are uniquely personal statements 

that carry both conscious and unconscious meanings (Golomb, 2002). For children, drawing is a personal, 

enjoyable and unique experience (Malchiodi, 1998) through which they express their thoughts, ideas and 

feelings (Brooks, 2005; Cox, 2005). 

Through the present study, we saw children, aged 8-12 years old, expressing their thoughts about Greeks 

from Pontus as refugees using a variety of elements and symbols. Scenarios were important, as they 

helped children depict in paper what had influenced them the most. According to Fineberg (1998), the 

production of drawings by young children constitutes very rich material with cognitive content through 

which they can tell a story with images-symbols. That is why we are highly interested in drawings, 

since apart from being a system of depicting images, it is also a means of revealing information for the 

child itself. 

A drawing by Hopperstand (2008) is always representative of the child that has created it because it 

reflects his interests and intentions, while at the same time, s/he can convey his own message in his 

personal, unique way. In the present study, it was observed that girls were more associated with 

drawings concerning the refugee part, expressing, at the same time, feelings of empathy, while, on the 

other hand, boys were more concerned about the Genocide connotations, therefore, creating images of 

action. Both sexes used iconic images in their efforts to convey their thoughts. These symbols were 

related both to cultural elements (flags, clothing, church, the cross, olive trees, etc.) and to historical 

events (exchange, population movement, etc.). The use of symbols to construct meanings that we 

usually want to convey or communicate is described by Van Oers (1997) and reflects children’s efforts 

to understand the world around them (Papandreou, Siambani, & Douma, 2011). 

It is noteworthy that children of Pontian origin used more symbols in their drawings, expressing this way, 

elements of their own culture. This emotional identification may be due to the fact that children’s 

drawings have always been influenced by their socio-cultural environment and background. Similar 

findings were observed in relevant research in secondary school students, as well (Konstantinidou, 

Fotiadis, & Kyridis, 2019). According to previous studies, children tend to use the design activity quite 

instinctively in their need to observe the surroundings and feel at ease in a given environment (Kouvou, 

2016). This result, as a cultural product, is greatly influenced by the environment in which they live and 

grow (Eco, 1989). It is an act of representing their way of thinking (Whight, 2010) as they capture what 

they see in their own way of perceiving. Through the images they draw, we have the opportunity to 

observe not only children’s current living conditions but also how this reality is interpreted according to 

the cultural community standards they belong to (Vallier, 1998). 

 

 

 



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5. Conclusion 

This paper highlighted the thoughts of elementary school students (aged 8-12) about Greeks from Pontus 

as refugees within the design activity framework. It became quite clear that students are aware of the 

historical issues of humanity in which ill-treatment and the forced movement of populations are 

projected. Students’ sociocultural environment affects the way they think and, therefore, helps them 

enrich their drawings with emotions and signs of sensitivity towards the Pontian Greek refugees. The 

design activity is an important tool for detecting children’s thoughts and ideas, enabling them to 

externalize important information that they might not otherwise be able to externalize. For this reason, 

it is proposed to employ it both as a research tool and in the educational process with the aim of 

approaching corresponding topics. 

 

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