Education, Society and Human Studies ISSN 2690-3679 (Print) ISSN 2690-3687 (Online) Vol. 2, No. 1, 2021 www.scholink.org/ojs/index.php/eshs 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 2 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 3 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 4 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 5 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 6 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 7 Published by SCHOLINK INC. 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% www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 8 Published by SCHOLINK INC. 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). www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 9 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 10 Published by SCHOLINK INC. 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). www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 2, No. 1, 2021 11 Published by SCHOLINK INC. 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. 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