Newsletter9

newsletternewsletterN°4 – October 2011P.IN.O.K.I.O.Pupils for INnOvation as a Key to Intercultural and social inclusiOn

MULTICULTURAL CHILDREN ‘S LITERATURE BY

THE ARISTOTLE UNIVERSITY OF THESSALONIKI

p.2

CHILDREN’S STORIES IN LONDON SCHOOLS BY

THE MOSAIC ART AND SOUND p.7

THE P.IN.O.K.I.O. PROJECT IN GREECE AND UNITED KINGDOM

P.IN.O.K.I.O. PROJECT AND MULTICULTURAL NARRATIVESMULTICULTURAL CHILDREN’S LITERATURE

The term “multicultural children’s literature” is relatively

new in the fi eld of cultural and intercultural studies. As

such, during the process of transformation and expansion

of its meaning, it is susceptible to different defi nitions in

view of each approach. A brief and general defi nition of the

term, though, describes books for children which treat is-

sues of cultural diversity, either racial, ethnic, linguistic and

religious, or even biological and social and aim at contrib-

uting to the development of the intercultural awareness of

young readers. The term was apparently conceived because

of the student’s need to defi ne this material of examination

or because of the publishing houses’ need to incorporate

the related recent publication series for children. The need

to make multicultural children’s literature is expressed by

the foundation in the mid 60’s of the Council on Interra-

cial Books for Children, whose goal is “to promote a litera-

ture for children that better refl ects the realities of a multi-

cultural society” and “to affect basic change in books and

media”. During the same period, the proposals of the move-

ment Political Correctness, developing a strong argumenta-

tion for the reversal of offensive prejudices and stereotypical

views, fi nd fertile ground in children’s literature, claiming

their contribution to multicultural children’s literature.

There is a special interest in what Mingshui Cai points out

(2002: 11-15), who, starting from the premise that “every

book demonstrates the complexity of multiculturalism”

remarks that “we should not have a separate category of

literature called multicultural literature”. He believes that

“the view that all literature is multicultural and should be

read multiculturally opens new channels for multicultural

education”.

CONTEMPORARY SHORT STORIES AND OTHERNESS

However, the image of the stranger, the different, the “oth-

er” has always concerned literature in general; it has fasci-

nated readers, because what is different is always attractive,

newsletterN°1 – FEBRUARY 2010P.IN.O.K.I.O.Pupils for INnOvation as a Key to Intercultural and social inclusiOn

2Photos from P.IN.O.K.I.O. activities in the London schools

as it satisfi es people’s curiosity and the need for knowledge.

Having clearly different expediencies and functions than

literature addressed to adults, there has been during the

last decades a large production of books for children, whose

main topic is the otherness/the identity, that tries to satisfy

the need for education in intercultural awareness within

the new, more and more pluralistic and multicultural en-

vironments. This happens because the terms intercultural

education and intercultural awareness, at least in the fi eld

of education, have a specifi c gravity. On the other hand, de-

spite the discussions among academics, educators and pu-

blishers, intercultural awareness, has not yet found ways to

be expressed in modern pluralistic societies. Having all these

as starting-point for our discussion, the ideological content

of these texts, as well as

their effectiveness to for-

mulate antiracist messages

has been explored during

an undergraduate course

in the School of Primary

Education of the Aristotle

University of Thessaloniki.

Contemporary editions of

illustrated books for young

children, written originally or translated into Greek, trea-

ting issues of diversity in general were collected and stud-

ied. The narrative persons of these books were sometimes

humanized animals, objects or imaginary entities, while

every “other” was mainly defi ned by some exterior feature,

differentiated with regard to the dominant group in terms

of shape, color, size or some other characteristic that the

“other” did or did not have. Although it would be worth

commenting on each and every text for its peculiar notional

nuances, a point of strong discussion was the presence of

specifi c narrative techniques, schemas and motives in most

of the books. As a consequence, repetition of constants has

revealed some interesting stable ideological lines. By exam-

ining the way literature for children handles, treats and

“embraces” the idea of the different, it is easily ascertained

that the plot in the majority of the books is built and based

on the following narrative schema: emergence of the diver-

sity (individual) – refusal for its acceptance by the identity

(collective) – testing of the diversity /offer to the identity –

acceptance/recognition of the value and the necessity of the

diversity. The ”other” appears at fi rst as a problem to be re-

solved, causes a certain trouble or vexation to the dominant

group when entering its environment; in order that the

initial hostility and distrust are reversed, the testing motive

is necessary. Finally the “other” needs to prove that he has

moral fortifi cation and that he is capable of contributing to

the culturally and ideologically dominant group so as to be

judged as equal and to be accepted by the group. Further-

more, the “other” is enveloped in stereotypical symbolisms

which are enforced by the illustrations, while his origins or

his previous condition is usually not mentioned and he does

not have a “voice”. His story is told by a third person, an

omniscient narrator who speaks for the “other” but with-

out being the “other”. In

very few cases the “oth-

er” undertakes to articu-

late a dynamic speech

and give his point of

view. The following pa-

radox takes place: even

if narration comes out

for the irreproachable

and capable, yet unfor-

tunate and marginalized “other”, it undermines in the end

the anti-racist ideology it meant to defend in the beginning.

So, although these texts’ clear intention and ideology is to

defend the acceptance of the “other”, of his right to be dif-

ferent and of the appointment of the beauty and the rich-

ness of this difference (this is why the initial racist attitude

of the dominant group is completely reversed in the end),

there are many textual signs that intend to state the oppo-

site. The “other’s” literary fi gure seems to serve the needs to

build a solid literary world, but also the need of dominant

group’s members for self-determination. The stereotypical

and not detailed description of the persons of the narration,

the predictable plot, the dominant group’s “voice” and the

explicitly formulated message/moral in the end, render the

subject’s approach superfi cial and schematic. On the one

hand they obstruct relevant discussions but on the other

they reproduce stereotypical concepts and prejudices that

pollute the intercultural effectiveness of these texts.



One of the issues that preoccupied the research was the

“voice”/the opinion expressed by the narration; this is

because it is the “voice” of the dominant group, as these

books are created by the western cultural system in order to

be consumed within its borders. So, no matter how much

the narration’s voice tries to lead to empathy, the effective

process of sharing “an emotional response with another as

well as the ability to discriminate the other’s perspective

and role” (Feshbach 1975), it is fi nally captured in its own

vision of the world, it bears inevitably its codes, its sounds,

it reproduces, unconsciously, familiar stereotypical views.

This is because the literary construction of the “other” is

attempted, based on granted information coming from the

outer world but then transmitted to this one. This infor-

mation constitutes inexpressible theories and impressions,

typical prejudices and images, a result of social representa-

tions (Moscovici 1981: 133-135). It is about social know-

ledge, spontaneous and simple, but socially elaborated,

commonly accepted and widespread, where the “social

consciousness” is refl ected. The narrative thought and as a

consequence the voice talking about diversity, is structured

and organized, sometimes more sometimes less, by the so-

cial representations, which it regenerates and reproduces. It

is possible that the narrative thought disagrees with some

stereotypical symbolisms and prejudices and tries to reverse

the established ideas. This assumption, no matter how at-

tractive, amusing or even necessary it seems, often meets

with the argument of “the attraction that the stereotype

exerts on the writer” (Abatzopoulou, 1998: 162).

These books’ purpose is to promote the ideology of accepting

the other, of recognizing his right to be different, of appreci-

ating the value and the richness of every different culture. It

is not the assimilation of the “other” by the dominant team

that we aim at, but his acceptance and his incorporation

in the team. However, the terms “incorporation” and “as-

similation”, despite the fact that they describe two totally

different procedures and situations and, as a consequence,

two different and also confl icting ideologies, they are not

always mentioned with their exact notional content. As a

result, cultural convergence is suggested and cultural diver-

sity is underestimated.

There is also a signifi cant number of books that opt for

commenting diversity by adopting a different approach and

different narrative techniques. In these cases, diversity con-

stitutes an advantage from the very beginning. The “other”

has a positive self-concept as to his diversity. He wants to re-

veal and project it, but even then diversity becomes a target,

it is marked by the idea of being different. As a result, a one-

track way of thinking, a one-track schematic and simplifi ed

image of the comprehensive, complex and multicultural

reality of our days pours into the texts.

However, no one can doubt the contribution of these books

in the development of the intercultural idea; because they

give the chance, within a school environment, to open a

discussion and raise questions, on condition that they are

guided by a well informed teacher.

FOLK TALES AND OTHERNESS

Literature and children’s literature, just as other means,

constitute an appropriate opportunity to get to know each

other. The truth is that in order to know the “other” we

have to understand him fi rst. It is important that we under-

stand his cultural system as well. And “to understand other

cultures, we need to develop cross-cultural competence. By



reading multicultural literature, we expect to learn about

cultures different from our own and to change our perspec-

tives on them” (Cai 2002:130).

Folk tales of various civilizations, far from the Eurocentric

literary point of view, totally infl uenced by the western

civilization, even though their main topic is not some is-

sue of identity, can be said to constitute a part of authentic

multicultural children’s literature. This is because they have

the power to enforce the critical approach of cultural spe-

cifi cities and of respect towards difference. As Bruner points

out (1987: 81-96), those folk tales and stories, which serve

as guidelines of behaviour and thought in all civilizations,

are not simple moral stories that show right from wrong.

They transmit to children some truths having sociologi-

cal and anthropologic dimension. They also transmit the

message that some truths are common in every civiliza-

tion. Despite the different cultural structures that may be

registered in them, they have common collective images as

to the human being. Mingshui Cai proposes that “in the

classroom, we can put together texts sets about the same

universal themes” (such as family or friendship) in order to

“see connections between different cultures by identifying

the themes shared by the stories”. Cultural similarities can

be considered as a means of connection with other cultures.

But differences should be discussed as well. Because “besides

universal themes, there are themes of racial prejudice and

discrimination” on which our attention must be focused. It

is important to talk about these subjects (Cai 2002: 126).

When students participate actively in the procedure of na-

rration of folk tales from various, different civilizations,

sometimes as narrators or as auditors, they examine and

reexamine their own cultural system, their prejudices, they

spot cultural models, they “think more deeply about diver-

sity and their own relationship to the social construction of

identity” (Mello 2001).

Taking into consideration all the above mentioned, narra-

tion and especially re-narration of various folk tales and ex-

periences was adopted in the Intercultural Laboratory of the

European Project P.IN.O.K.I.O. (www.pinokioproject.eu)

as a basic practice, often with the signifi cant contribution

and cooperation of parents. It is important to mention that

students from various scientifi c fi elds (let us to refer Jerome

Bruner indicatively) often argue in favor of the opinion that

narration is therefore important both as content and as

method. It is a way to give information about an event and

it is also a method of thought, a vehicle of meaning mak-

ing, a method of interpretation of the event, which gener-

ates knowledge and feelings. It is a unique - and intrinsic to



human nature - way of thinking and arguing. The narrated

stories offer opportunities for creative activities in which

children will be invited to work together, to take initiatives,

to develop mechanisms to resolve problems, to complete a

variety of types of expression, to gain experience and man-

age those already existing, to understand the price of cer-

tain choices, to think about the causes of their preconcep-

tions, to enrich fi nally their knowledge data bank and their

knowledge of the internal and external world. Because the

skill in narrative construction and narrative understanding

is substantial and of decisive importance for the cohesion

of a culture, and is crucial to constructing our lives and a

‘place’ for ourselves in the possible world we will encounter,

and fi nd an identity within the culture in which we live and

grow up (Bruner 1999:40).

Written by Sofi a Gavriilidis,

Aristotle University of Thessaloniki

BIBLIOGRAPHY Abatzopoulou, F. (1998) Persecution of the “other”.

The image of Jewish in Literature, Issues of history and fi ction

(in Greek), Athens: Themelio.

Bruner, J. (51999). The Culture of Education, Havard

University Press.

Bruner, J. (1987). “The transactional self”. In: Bruner,

J. & H. Haste (eds). Making Sense. The child’s construction of

the world, London: Methuen & Co, 81-96.

Cai, M. (2002). Multicultural Literature for Children and

Young Adults: Refl ections on Critical Issues, Westport, Conn:

Greenwood Press.

Gavriilidis, S. & A. Karakitsios (2005).

“Rappresentazioni del ‘piccolo altro’nei romanzi per ragazzi

greci ed italiani”, Rassegna di Pedagogia, LXIII, 3-4,

Istituti Editoriali e Poligrafi ci Internazionali,

Pisa-Roma, 279-296.

Giannikopoulou, A. (2009). “Direct and Indirect

Ideological Messages within the Intercultural Illustrated

Book” (in Greek), Keimena, n.9,

http://keimena.ece.uth.gr/main/index.php?view=arti

cle&catid=53%3Atefxos9&id=144%3Ap7t9&option=c

om_content&Itemid=88

Feshback, N.D. (1975). “Empathy in children: Some

theoretical and empiracle considerations”,

The Counseling Psychologist, v 5, 25-30.

Kanatsouli, M. (2002). Ambiguities in Children’s Litera-

ture. Between greekness and multiculturality, (in Greek),

Athens: Sygxronoi Orizontes.

Mello, R. (2001). “The Power of Storytelling: How Oral

Narrative Infl uences Children’s Relationships in

Classrooms”, International Journal of Education & Arts,

v 2:1, http://www.ijea.org/v2n1/index.html

Moscovici, S. (1982). “The coming era of representa-

tions”. In Codol, J.P. & J.P. Leyens. Cognitive approaches to

social behavior, La Haye: M. Nijhoff, 115-150.

Tsilimeni, T. (2007). Picture book. Views and opinions,

(in Greek), Volos: University Press of Thessaly


6

CHILDREN’S STORIES IN LONDON SCHOOLSWHAT STORY WOULD YOU TELL A CHILD?AND HOW WOULD YOU TELL IT?

A limited survey that The Mosaic Art And Sound made at

the start of the P.IN.O.K.I.O. training in several primary

schools in London, found that children’s stories, folk and

fairy tales are not frequently used in daily teaching.

Although storytelling is part of a teacher’s way of transfer-

ring information and values, tales still vibrant in European

children’s literature are not taken into account when the

need for developing curricula throughout the school year

is demanding all efforts. However, teachers agree that more

creativity would help children to better understand and re-

tain the subjects they learn.

Children’ s stories offer a wealth of experience and educa-

tion. Trainers at The Mosaic Art And Sound adapted the

P.IN.O.K.I.O. Teacher Education Programme to a training

strategy that would allow teachers in the UK to experiment

and enjoy storytelling in the classroom to improve social

inclusion and specifi c competences such as sense of initia-

tive, learning to learn, communication in mother tongue,

cultural awareness and expression.

The teacher training, creative labs and intercultural work-

shops, developed with European added value within the

project, enabled teachers and children (and also parents)

to feel confi dent in exploring their own ability in the art

of storytelling and engaged children’s creativity in digital

achievements.

Children, inspired by the tales and by the activities initiated

by the project trainers and teachers, expressed their feelings,

thoughts and expectations through verbal communication,

questions, descriptions of imaginative situations, written

words, little dramatizations, sounds, body movements. They

shared and collected materials for common digital products.

Thus, the stories became part of a child’s life and could

resonate with the deep human values very often found in

children’s literature.

Children’s literature would serve the purpose of building

bridges of intercultural communication in classroom, a way

to appreciate cultural differences and similarities to eventu-

ally reach the universal meanings within a child’s tale.

The P.IN.O.K.I.O. piloting in the United Kingdom took

place in fi ve London schools that have a high number of ESL

(English as a Second Language) children and therefore with

a need to integrate the little citizens into a multicultural

environment.

Although the schools proved to be the ideal project’s target,

it was still required to fi nd out how the project activities

would fi t in with the curricula, since the workshops and the

following project’s activities/piloting would take place dur-

ing curricular hours.

Within the P.IN.O.K.I.O. contextualization, it clearly

emerged that the project, which involved targeted training

for teachers as well as creative engagement with children in


7

Photos from P.IN.O.K.I.O. activities in the London schools

the classroom, would feed directly into a number of aspects

of the National Curriculum.

Involving the use of storytelling, Literacy and technical/ICT

skills, the project aimed to foster social inclusion and other

key competences highlighted in the European Union educa-

tion programmes. The project’s activities in the classrooms

would leave behind a legacy of skills that could be used in

further learning across the curriculum.

Deborah Newbold, a trainer at The Mosaic Art And Sound,

a professional storyteller and senior practitioner for Shake-

speare’s Globe Theatre, in London and Teresa Dello Mo-

naco, music consultant at The Mosaic, designed a specifi c

example of practical work in the classroom that can be

found in P.IN.O.K.I.O. website http://www.pinokioproject.

eu/node/32

Evaluation showed that teachers:

• appreciated the project’s innovative socio-cultural aspects

and its way to foster social inclusion;

• were more aware of European Union values in education

(and key competences);

• were refl ecting on the necessity to acquire skills to

promote active and authentic collaborative learning pro-

cesses;

• aimed to use an integrated system of codes and languages

(text, images, audio, videos and animations) in their daily

teaching, as suggested;

• felt more confi dent to use storytelling techniques in the

classroom;

• felt more confi dent in the use of blog, e-book, voice re-

cording, movie. Two teachers had also acquired some

skills in more complex digital animations;

• would have liked more training;

• enjoyed their e-products and were happy to share theirs

and their children’s achievements within the school com-

munity.

P.IN.O.K.I.O. trainers, teachers and children carried out

several digital works that can be seen in P.IN.O.K.I.O. web-

site Blog.

The Intercultural workshops gave the possibility to interact

also with children’s parents. Several activities were devel-

oped. Storytelling by migrant mums and the game ‘Creative

Storytelling’ were the highlights.

At the fi nal party, everybody in the schools was pleased and

wishing for more P.IN.O.K.I.O. activities.

Written by Dr. Teresa Dello Monaco, The Mosaic Art And

Sound.



www.pinokioproject.eu

Lifelong Learning Programme

This project has been funded with support from the European Commission. This publication refl ects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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