The Spanish society has changed deeply during the last decades, and these changes have its
reflection in all the social aspects. Textbooks and infantile books are not an exception, and the values that are transmitted by them are extremely important for the integral formation of children and young people. In this respect, illustration has a fundamental role in the creation and modification of social stereotypes, and this must be born in mind at the moment of selecting school texts and complementary readings by teachers

Gijón Puerta, José

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Rethinking about the values transmission in textbooks for children by means of illustrations

Repositorio Institucional Universidad de Granada

Journal for Educators, Teachers and Trainers, Vol. 1http://www.ugr.es/~jett/articulo.php?id=2Rethinking about the values transmission in textbooks for children by means of illustrationsJosé Gijón Puerta, University of Granadajosegp@ugr.esEstrella Fages, Illustratordibulibud@estrellafages.comAbstractThe Spanish society has changed deeply during the last decades, and these changes have its reflection in all the social aspects. Textbooks and infantile books are not an exception, and the values that are transmitted by them are extremely important for the integral formation of children and young people. In this respect, illustration has a fundamental role in the creation and modification of social stereotypes, and this must be born in mind at the moment of selecting school texts and complementary readings by teachers. Key WordsPrimary Education; Illustration for Children; Education in Values Citation:Gijón, J & Fages, G.(2010). Rethinking about the values transmission in textbooks for children by means of illustrations, Journal for Educators, Teachers and Trainers JETT, Vol. 1, pp. 13-18                                             14Introduction: The change of values in the new societyValues have always been part of education (educating is definitively transmitting the shared social values to the following generations-Camps,  2007). And values have always formed an inseparable part of  books, especially of textbooks and its graphical support, and these were never questioned, since we found the same values in our more nearby familiar and social environment.But these values have changed deeply in the last decades, and not only in Spain.  The concepts of Integration or Multiculturalism have not been common currency in western societies - to which we refer here-. And even less in Spain,  since we are referring concretely to our country, so we can assert without mistake that foreign cultures were placed in exotic scenes or historical times, which in good part was reflecting a reality that has changed radically  over the last decades. We can see good examples of this in publications such as Encyclopedia Álvarez, The World of the children (Ed. Salvat) and other books of that time.This  document is a reflection on the role of the illustrator as supporter to the text and its commitment  with the new values shared within society, which have to be promoted in educational centers,  whose teachers also have to ʻsignʼ  this commitment with a suitable choice of the books and didactic materials that their pupils  will use (Figure 1), and that will be, in a sense, their ʻpedagogic commitmentʼ with the families.Figure 1. A  handicaped student share with others a day in the field. Estrella Fages ©, Graciñas, VicenVives (2004). Digital illustration.Illustration and values in the didactic materialsWithout obviating the publishing,  economic, political or ideological criteria, which often determine the essential line of the publication, it is undeniable that the illustrator tries to reflect the reality that surrounds them, in a way that a reality which is evolving towards a major diversity, managing to be a multiracial and multicultural society, has also a clear reflection in the evolution of illustration.Integration as an educational concept and the equality of sexes have also been a way (probably undertaken a bit late in our country) that has been realised in good part in the last  two decades. The promulgation of the LOGSE gathered what has been known as ̒ transverse axes of curriculumʼ and that nowadays itʼs known - in a wide sense - as ʻeducation in valuesʼ (Medina and Salvador, 2009).Illustration,  both simple and complex, both technically good or less good, supported always  Journal for Educators, Teachers and Trainers JETT, Vol. 1      15these written, more or less explicit values,  interpreting the desires of  the publisher or those of the author, first under the attentive look of the censorship  and later under the sign of what is  ̒ politically correctʼ  (Finn, 1995) (Figure 2). In this respect,  the family model always has been one of the ʻfavouriteʼ  topics of illustration,  which may have generated several polemics recently,  as that of Education for the Citizenship  in Spain, which has confronted many parents with the educational system, probably more due to the contents and the graphical support  of the textbooks, than due to the official curriculum, as has been gathered in several judicial decisions.Figure 2. A men in the stone age, helping in the domestic work. Estrella Fages © Oxford University Press (2003). Digital illustration.More diversity in texts and illustrationBut it  also is undeniable that who the interpreter – the illustrator, in this case -, is also introducing their own vision, their own perception of the reality that surrounds them and their own desires of transforming that  same reality. And this personal vision unequivocally sets  its  place in the frame of these values, these axles that cross transversely the curriculum and - increasingly more, but not always – that constitute little by little the ʻsecret curriculumʼ (Apple, 1986).In the sense of the previous paragraph, the stereotype and the archetype are elements of work of the illustrator (Figure 3),  since they must represent realities and recognisable concepts for the boys and the girls  (and also for the teachers).  These stereotypes not only refer, obviously, to races and to cultures,  but also to the family, sports,  work and social icons in general, related very specially to the traditional roles of the man and the woman.But those symbols that we share in society have also been changing - some of them slower than others - since the beginning of the Spanish transition. We do not place people of other ethnic groups in exotic countries anymore, but selling in the ʻstreet marketsʼ  of our cities or attending to us in a drugstore or in a health center. In this respect,  the illustrator can and must break the stereotype, and not only reflect  the reality that we see day by day,  but also give one more step  Journal for Educators, Teachers and Trainers JETT, Vol. 1      16ahead and represent  the same prominent  figures in situations in which there could be ourselves, our families or our acquaintances.The skills that can be activated, on the other hand, by reading a story or a textbook - and its  graphical support, which is really important in some cases -, such as the capacity of attention, imagination or the connection among facts and values (Gómez Couso, 1993) force the illustrator, in relation with the previous paragraph, to create a meticulous work in relation with the explicit or tacit values that their drawings could incorporate, and simultaneously promoting the development of the mentioned skills. And in many cases this is not easy at all.Figure 3. Estereotipes: smart  horse/ donkey dumb. Estrella Fages © Mi amigo listo, Algaida (2010). Digital illustration.The commitment of the illustrator with diversityReflecting the diversity of the classroom is contributing to integration and to moral development of the students. When there is tuning in among author, editor and illustrator, the diversity populates streets, classrooms, excursions, cities and villages. There are interfering new prominent figures, who now have different skin colours and ethnic groups,  different sizes, hair colour and varied clothing.Pupils who go in wheelchairs walk along the street close to their companions and dogs and cats of the most varied hairs swarm for the corners of  the illustrations. Just like the illustrators, of some form, have the habit of represent themselves in their illustrations, boys and girls seek for their own reflection in them, and all of them must  be found in these, whatever it is their social condition, their ethnic origin or their capacity or disability (Figure 4).And they will be happy, enjoying life, because this is a vision of the world, a nice and entertaining vision necessary to share with the readers. On the other hand, when a teacher chooses a certain text or material of  work for their pupils, probably they examine the text,  the contents, the  Journal for Educators, Teachers and Trainers JETT, Vol. 1      17expression,  the activities and, probably, the illustrations. It is probable that some illustrations seem nice to them, but in time will choose books which structure or contents they consider more suitable.This, obviously, departs from they work as a teacher, but it  would be interesting that, when the didactic materials were examined, the graphical support of these were checked attentively and looked for the work of  representation as those valid social values in our context, the diversity that reflects  Spain today and the roles of the prominent figures who adjust to that  more fair and supportive world that they want to construct.As interpreters of what  the educational teams (authors) and editors present, illustrators must be creators (at  least in part) of the tools that are in use in the classes and as such, they must have a personal commitment with those.Figure 4. Diversity in the school. Estrella Fages © Vives Vives (2006). Digital illustration.ConclusionLike teachers have to be critics with the educational procedure and rigourous with the didactic methods,  illustrators must also be with the orders of their work, when they interpret those ideas and contents indicated in them. In the process of elaboration of didactic materials, it  is necessary to enter the creative and constructive discussion that allows to imagine and to look for a better world where finally every pupil could realise their dreams and demonstrate their skills and their value.The expressiveness in the gesture, the recreated emotions and the exceeded fantasy, can be important elements in the graphical support of school texts. Probably the laugh, as therapeutic element, could be an essential aim for the illustrator: promoting the smile,  infecting happiness, motivating the pupils for reading and study, also form a part of the creator's trade.  Journal for Educators, Teachers and Trainers JETT, Vol. 1      18ReferencesApple, M. W. (1986). Ideología y currículo. Madrid: Akal.Camps, V. (2000). Los valores de la educación. Madrid: Anaya. (7ª edición).Finn, J. (1995). Cuentos infantiles políticamente correctos. Barcelona: Circe.Gómez Couso, A. (1993). La narrativa folclórica en el mundi infantil.  En P. Cerrillo y J. García Padrino (Coords.) Literatura infantil de tradición popular (85-92). Universidad de Castilla-La Mancha.Medina, A. y Salvador Mata, F. (2009). Didáctica General. Madrid: Prentice hall. Journal for Educators, Teachers and Trainers JETT, Vol. 1      19

Rethinking about the values transmission in textbooks for children by means of illustrations

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