Childhood Education

ISSN: 0009-4056 (Print) 2162-0725 (Online) Journal homepage: http://www.tandfonline.com/loi/uced20

Cross-cultural Practices in Art Education: The Art

Lunch Project in Turkey
Dilek Acer
To cite this article: Dilek Acer (2012) Cross-cultural Practices in Art Education: The Art Lunch
Project in Turkey, Childhood Education, 88:6, 360-366, DOI: 10.1080/00094056.2012.741481
To link to this article: http://dx.doi.org/10.1080/00094056.2012.741481

Published online: 26 Oct 2012.

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Date: 08 November 2016, At: 12:31

 ARZTSAMUI

Cross-cultural
Practices in
Art Education
The Art Lunch Project in Turkey
by Dilek Acer

Dilek Acer is Assistant Professor,

Department of Preschool Education, Faculty of Educational Sciences,
Ankara University, Ankara, Turkey

ne of the many important functions of art is to encourage

people to see different cultural perspectives and enable
them to better understand and appreciate themselves and
others. Engagement with art from other cultures may help us
transform our understanding of learning (Joseph & Southcott,
2009). Art has the tremendous potential to develop childrens cross-cultural
competence and experience, and it can reveal the values and beliefs of a culture,
while helping children view the world from new perspectives (Graham, 2009).

This article presents a selective review of the literature on

cross-cultural art studies, with the aim of identifying their

commonalities. The article includes a specific cross-cultural
case study, the Art Lunch Project, which the author attended
as a representative of Turkey, that aims to exchange practical
teaching experiences. The participants come from nine
countries across Europe and Asia. It is an ongoing project
in which art or homeroom teachers in schools interpret
the common theme of an art lunch, in collaboration
with university-based researchers in art education. The
project involves making two- and three-dimensional artistic
representations of food using recycled materials. Work
completed by children is uploaded to a website for mutual
viewing by participating teachers and children. The reasons
for selecting this theme were that curricula organized around
the fundamental human need for food are likely to have
360 \ Childhood Education

universal appeal, and the results would thus reflect national

cultural differences (Fukumoto, 2007).
During the Art Lunch Project, participants engaged
in a mutual information exchange by sharing their food
cultures. The children received help from their grandparents
while researching the traditional food of their own cultures,
learning about the names of foods and how they are prepared.
Thus, this process contributed to the strengthening of
communication between different generations as the children
gained valuable new insights into their own traditional
food cultures. Additionally, the children designed two- and
three-dimensional models of foods to share with children of
other countries. In this process, they learned about different
art materials and techniques. As the children shared their
artwork, they learned more about the food cultures of
different countries, thus gaining a different perspective.

Literature Review

The definition of the word culture is under continuous and serious debate. Social scientists study it
from diverse perspectives, and the many differences
in definition may stem from these different ways of
considering the concept (McFee & Degge, 1980).
Nevertheless, a few definitions may be helpful here.
Culture may refer to the totality of ideas, customs,
skills, and arts that belong to a people or group. This
cultural totality is communicated or passed along
to succeeding generations. Culture may refer to a
particular people or group with their own ideas, customs, and arts (Lazzari & Schlesier, 2008). Peoples
attitudes toward the culture they belong to reflect
the cultures worth. As people react to the culture
they live in, they become its creators. Thus, each
individual is also a carrier of culture.
Despite such definitions, some people lack
awareness of their own culture or the effects that it
has on other people. For this reason, it is especially
important for children in multicultural societies
to understand both their own culture and that
of others. In their everyday lives, individuals are
exposed to several cultural elements, including
language, visual symbols, values, beliefs, the
status and roles of people at different ages.
Children invariably belong to at least one culture
(Sahasrabudhe, 1992), and as they grow they begin
to recognize and discriminate among particular
environments (McFee & Degge, 1980).
As children develop into adults, they are
nourished by culture (Guvenc, 1997). Indeed,
Vygotsky emphasizes the defining effect of culture
in child development (Wertsch, 1997). As culture
determines childrens outlook on life and shapes
their beliefs and value systems (McFee & Degge,
1980), they first need to know the culture that
they are born into. Thereafter, knowledge of other
cultures is necessary to develop different perspectives
(Stokrocki, 1989).
Art is one effective way of introducing children to
their own culture as well as that of others, as culture
and art are closely linked. Art enables people to view
themselves through others lives, and helps them
associate with the experiences of other people (Katter, 1987). It is a principal means of communicating cultural ideas, thoughts, values, and emotional
meanings from one person, group, or generation to
another. People symbolize the experiences they have
through different forms of art. They observe art and
obtain new insights into their experiences, and those
of others. Therefore, art has a significant role in
teaching children about cultures (McFee & Degge,
1980), and plays a vital role in giving children
insight into various sources of culture (Fischer, 1999;

Sahasrabudhe, 1992).
Cross-cultural studies encourage people to understand other cultures, and question their own. This
leads to the development of tolerance and new perspectives (Stokrocki, 1989). To thrive in cross-cultural situations and respond to works of art, people
need greater awareness of their own cultural patterns,
and to be less ethno-centric, less judgmental, more
flexible and empathic, and more prepared to develop
cognitive understanding of others (McFee, 1986).
Food plays a major role in culture in that it is
a manifestation of the spiritual and cultural ties
between individuals and the community (Smith,
Johnson, Easton, Wiedman, & Widmark, 2008).
Food, like shelter and clothing, is fundamental to
human existence. Food culture shows how eating
not only nourishes the body, but also reflects
how people negotiate their cultural and social
subjectivities. Cooking and eating, then, is not only
biological, but also a critical social element in the
complex nature of what makes us human. Food is as
much a medium of cultural expression that mirrors
our need to communicate as is language, symbolic
behavior, dance, art, music, and ritual (Lee Prez
& Abarca, 2007). Food is, therefore, a vehicle for
learning about cultural diversity and transmitting
knowledge and increasing mutual understanding and
social cohesion (Dernini, 2006).
Studies show that cross-cultural education
programs often share the following characteristics:
Acquiring a different perspective and new awareness
Understanding of self and others
Remembering and sustaining disappearing values
Promoting solidarity and cooperation
Comparing similarities and differences.
In terms of increasing awareness and recognizing
the importance of disappearing cultural values,
one study conducted by Stokrocki (2001) aimed
to help Turkish, Japanese, and Navajo children
view a traditional rug through artistic critique, in
the process learning to develop new perspectives
and express their views. The children examined a
traditional Turkish rug, using the four steps of art
critique. When talking about the designs they saw
on the rug, the children mentioned different animals;
however, all three groups mentioned the peacock,
due to its distinctive features. When discussing
the rugs symbols, shapes, and colors, the children
were highly influenced by their own cultures. For
example, while Turkish children focused on red
and white (the colors in their flag), Navajo children
focused on the colors in the U.S. flag (namely, red,
white, and blue). A common response by all three
November/December 2012 / 361

groups of children was to highlight the protective

function of the carpet. This cross-cultural study
highlighted two points: children can distinguish
between their own and others aesthetic traditions,
and disappearing traditional values displayed in
objects (such as rugs) may reclaim their value
through interaction and sharing of cross-cultural
artwork.
Many cross-cultural studies of art, artwork,
and art education emphasize similarities between
cultures (Wang & Ishizaki, 2002). To illustrate,
Coutinho and Miranda (2006) observed the
memory and observation drawings of Brazilian
and British children, and found that both groups
not only could draw from memory, but also would
draw the things they knew and saw around them.
This study showed that children from different
cultures perceive their environments in similar ways
and reflect this in their drawings. Additionally, a
study by Kroupp, OMalley, and Sumner (2006),
which aimed to identify the leisure-time activities
of North American and Israeli children through the
contents of their drawings, concluded that the most
popular pastime for children of both cultures was
sports, based on what they had drawn.
On the other hand, certain cross-cultural studies
have served to highlight the differences between
various cultures. For instance, one study (Blaikie,
Schnau, & Steers, 2004) compared the end-ofthe-year summative art and design portfolios of 107
Canadian, English, and Dutch secondary school
students. The researchers aim was to determine
whether the students who were planning to pursue
a college degree in art and design perceived these
portfolios to be valid preparation for their future
and to discern which aspects of the portfolios they
valued most. The varying results offered valuable
inferences about art and design education in each of
the countries.
Comparative studies also have focused on
other aspects of art education, such as teacher
development. One such study compared the art
teacher education policies of Taiwan and England;
the results suggested that art education theories in
Taiwan could offer a better balance between local
and global ideas (Lo, 2006). Other comparative
studies have uncovered both similarities and
differences. One study, for example, compared
English and Chinese childrens drawings. Two art
advisers in the United Kingdom and one Chinese
researcher in Beijing familiar with childrens
drawings rated the drawings independently. The
experts were generally in quite close agreement;
very few pictures elicited wildly different ratings
from the experts, and there were no consistent
362 \ Childhood Education

and meaningful differences between the drawings,

probably as a result of similar art education
practices in the countries. On the other hand,
observation and video recording during the same
study highlighted significant differences between
the organization and management of art classes in
these two countries. While Chinese children were
considered capable of producing three-dimensional
drawings from imagination, most UK teachers were
observed as discouraging this practice with their
students, instead encouraging the children to copy
pictures from books (Cox, Perara, & Fan, 1999).
In another study (Wilson & Wilson, 1983),
Australian, North American, Finnish, and Egyptian
children were asked to draw story pictures. It
was found that children from the three Western
countries perceived the world they were living
in as a place full of competition and struggles.
The drawings of the Egyptian children, on the
other hand, often showed a concern for others
and presented a model of caring, service, and
sympathetic patronage. In their narratives, the
American children drew contest/combat themes
approximately 40% more frequently than did the
Australian and Finnish children, and 72% more
frequently than the Egyptian children.
In a globalized world, it is important for the
peoples of the world to understand each other
better. An overview of the education systems
throughout the world shows that the aim of
understanding others has a major role in most.
Cultureand therefore artare important
tools in realizing this aim (Nadaner, 1983).
Intercultural studies have thus helped develop a
fuller understanding of ourselves, others, and art
education (Rubinowitz, 1983). More studies using
art as a method to achieve this goal are needed.

Case Study: The Art Lunch Project

This section focuses on the Turkish leg of a

cross-cultural art project known as the Art
Lunch Project. The Art Lunch Project is a
pilot study involving international collaboration
of art educators and teachers. The aim of the
project was to compare approaches to teaching
the common theme of an art lunch in nine
participating countries: Portugal, Germany, the
United Kingdom, the Philippines, Turkey, Slovenia,
Finland, Denmark, and Japan. Another aim of the
project was to introduce the children to the food
cultures of their own country and that of others.
Art educators collaborated with art education
experts and researchers from universities to develop
curricula organized around the fundamental human
need for food while also generating data that would

reflect national cultural differences.

The Turkish leg of the project was conducted in
Ankara, the capital of Turkey. Twenty-eight 6- to
11-year-old children of upper socioeconomic status
attending private elementary schools participated.
They were asked to use different materials, such
as string, sawdust, pieces of wood, fabric, styrene
foam, and sand, to prepare artistic lunches for
the children of another country of their choice.
Meanwhile, they were encouraged to gain an
awareness of the diversity to be found in artistic
expression and to appreciate different cultures
(Fukumoto, 2007). The main objectives of the Art
Lunch Project were to.
Enthusiastically prepare an original lunch
through different art forms for foreign children
Select the best art media and use various materials
to actualize ideas of an artistic lunch
Make a conscious color arrangement to convey
the deliciousness of original meals
Notice cultural differences in art expression
and become willing to learn more about other
cultures in the sharing session.
The Turkish section of the project was planned
in two stages. The first one consisted of raising
childrens awareness of traditional Turkish food
culture. The second stage aimed to increase
awareness of the food culture of another country.
Finally, the children designed a three-dimensional
lunch for the children of other countries, using
various types of recycled materials.

Stage I

When the children were asked in the first stage to

list names of traditional Turkish food, they were
not able to list many items. After a brainstorming
session, the children decided to get together with
their grandparents to learn more about the subject.
In the second meeting with the children, almost
all excitedly recited recipes for traditional Turkish
dishes. We imagined together with the children
what these dishes would be like. The children then
created three-dimensional models of these dishes,
using play dough. They also discussed other dishes
that their mothers prepared for them. Finally, they
made collages of traditional Turkish dishes (see
Figure 1).

to visit the school. On the pre-arranged day of

the visit, the attach arrived with a translator and
many materials. He then handed out one-to-one
models of traditional Japanese dishes, such as soba,
tempura, and sushi. Each child touched the models
and asked questions. Meanwhile, the attach
explained that many restaurants in Japan had
similar models of each dish on their menu and the
customers based their orders for food on them.
At a later date, the children visited the Portuguese
Embassy in Ankara. The Portuguese cultural
attach and three other officials shared information
about Portugal, including their most popular
dishes, general lifestyle, and how Portuguese
children spend their time. The Turkish children,
in turn, told their hosts about their own favorite
dishes. This conversation showed that both
Portuguese and Turkish children like hamburgers.
After the conversation, the children watched a video
about Portugal and enjoyed popular Portuguese
cakes and cookies. They promised to prepare
traditional Turkish dishes for Portuguese children.

Final Stage

In the next stage of the project, children created

models of traditional Turkish dishes using recycled
materials. They spent a considerable amount
of time and effort deciding which ingredients
they needed to use. They consulted with each
other, examined ingredients, and became better
informed. In addition to using natural materials,
such as seashells, rice, and pebbles, the project also
made use of recycled materials, such as newspaper,
cardboard boxes, buttons, beads, string, and
balloons.
Preparing this artistic food took more than
half a day. When finished, the children told
each other about the dishes they had prepared

Stage II

The second stage of the project took longer than

the first. The countries chosen for this stage were
Japan and Portugal. The Japanese Embassy in
Ankara was contacted and a cultural attach agreed

Figure 1
Collage, Ata Evren-Bartu Acar, 9 years
November/December 2012 / 363

Figure 2
Lunch table set up by children

mentioning the ingredients they had used and the way in

which they had used them. The dishes were placed on a huge
table for display (see Figure 2) and other arrangements
plates, cutlery, glasses, and servietteswere made. Each
stage of the project was recorded and broadcast on the
Internet by the project manager, Kinichi Fukumoto, and
shared with children from the other countries (Fukumoto,
2005).
The dish shown in Figure 3 is one common to all regions
of Turkey; however, it is particularly prevalent in the coastal
Aegean region, where it is consumed cold and with rice
(Republic of Turkey Ministry of Culture and Tourism,
2006).
Types of food, how they are prepared, and the ingredients
used vary greatly across the different regions of Anatolia. In
the Southeastern Turkish provinces, near the Syrian border,
pastries are very popular. This area is an important producer
of pistachio nuts; thus, many of the pastries (of which Figure
4 is an example) use pistachios for flavoring. Perhaps the
best known and liked pistachio pastry is the world-renowned
baklava (Republic of Turkey Ministry of Culture and
Tourism, 2006).

Assessment

At the end of the second stage, the children completed the

questionnaire given below:

Figure 3
Traditional Turkish dish Stuffed Peppers, Ayyuce Sarica, 10

What are the traditional/typical foods in your country?

Did you enjoy the art lunch lesson?
How did you make your art lunch?
Which part of your art lunch work caught your attention
more?
What is the most distinctive feature of your art lunch
work?
What kind of materials did you use, mainly?
Did you have some inspiration from others to refine your
work?

Conclusion

Figure 4
Traditional Turkish dessert Baklava,
Zeynep Bayamlioglu, 11
364 \ Childhood Education

This cross-cultural study based on the theme of food, one

of the elements that constitute culture, used a number of different techniques, ranging from storytelling, discussions with
field experts, brainstorming, and trips for observation. As
children designed food for children from the other countries
included in the project, they used recycled materials. (See
Figure 5.) Before turning these materials into three-dimensional forms, the children touched, felt, compared, and defined these materials, sharing their ideas with other children.
This stage also included problem solving in terms of modifying and reconstructing the materials, as well as exploring new
possibilities with them.
As most of the recycled materials were common everyday
items used by children, they were able to undertake meaningful and creative explorations (Eckhoff & Spearman, 2009).
The children were able to handle them relatively easily and

use them to represent their ideas. They were excited about using the materials to serve different
functions. This intrinsic motivation meant that
the children were able to focus for a long period
of time, given their age. They were satisfied and
felt proud of their achievements.
The aim of conducting intercultural studies
is to analyze the universality of a given
phenomenon in a culture (Lovano-Kerr, 1983).
Food is one such cultural touchstone. Founded
on the remnants of a huge empire covering
almost the entire Arab world, Anatolia, and the
Balkans, as well as part of the Caucasus, Turkey
has one of the richest cuisines in the world. The
traces of all of these people are still evident in
todays Turkish Republic. Considering that 32
different countries still exist in the land that
was once the Ottoman Empire, Turkeys social
heritage can be better understood through its
food (Ate, 2005).
The children who had experienced difficulty
recognizing traditional Turkish dishes at the
beginning of the project were able to list the
names of several dishes by the end of it. As the
children turned dishes and desserts unique to
different regions of Turkey into three-dimensional
designs, the diversity was remarkable. This
learning was the sort of experiential approach
that engaged all the senses, while focusing on
diversity and culture in the classroom (Cargill,
2007). Furthermore, the students also had a
chance to analyze the artwork of children from
other countries in order to gain information
about their food cultures, comparing and
contrasting these with their own.
The children reported that they were very
happy to have taken part in the project. They
also noted that while they had prepared their
three-dimensional artistic food designs by being
true to the original, they also had added their
own imaginary elements. In addition, they explained that the most time-demanding part of the
design process was putting the materials into an
appropriate form. All of the children responded
in a positive manner to the challenge of creating three-dimensional artwork. All were able to
create forms that were recognizable artwork, and
rich in symbolic meaning.
The Art Lunch Project strengthened childrens
self-confidence in designing both two-dimensional and three-dimensional artwork. Beyond the
effort of materializing their own thoughts, the
participating children had to imagine their foreign peers process of creating their own national
dishes; in a way, they lived through this process.

During the process of artistic expression, the

children rediscovered the feeling of taking pride
in and valuing their own culture. At the same
time, they became able to distinguish the differences between the artistic expressions of children
in other cultures and their own.
One of the most distinctive features of project
studies is their provision for cooperation and
sharing, features that were indeed experienced in
this study. The children from the countries that
participated made three-dimensional artwork
that represented their emotions and thoughts
to share with each other in the digital environment. Thus, they had an opportunity to see the
similarities and differences in each others work.
Also, similar to the other cross-cultural studies
mentioned, the Art Lunch Project gave children
the opportunity to appreciate the value of not
just their own, but also each others food cultures.
People are shaped inside their own cultures,
because it is culture that shapes the way people
perceive life. Therefore, it is important that children get to know their own culture and that of
others. In this study, which aimed to use food as
a way to explore other cultures, it was noteworthy
that the children had actually been alienated from
their own food cultures. The project gave the
participating children an awareness of their own
traditional food cultures.
Although food was chosen as the focal point
in this study, art educators may introduce
different cultures to children through many
themes, such as plays, costumes, music, dance,
and architectural structures. In addition, art
educators may create new activities unique to the
cultures of children in their classes who come

Figure 5
A student preparing lunch in artistic form
November/December 2012 / 365

from different countries. Families of these children also may

become involved in this process. Future comparative studies
may be conducted with children of different socioeconomic
statuses and/or multicultural children. Future studies also
may make use of childrens books on the topic.

Acknowledgments

I am much indebted to Ayse Cakr Ilhan, without whom

the Turkish leg of the Art Lunch Project would not have
materialized, for her guidance and encouragement in writing
this article.

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