1

Teaching History In Greek Cypriot Primary School:

Visual Representations And Visual Narratives Of Women In

History Textbooks

Myria A. Constantinidou

Abstract:

The presentation will focus on the visual narratives and

representations of women which may be identified in the Greek

Cypriot History Textbooks used in Primary Education. Visual

representations, sources and narratives involving women, or

femininity, that can be found in the textbooks will be

collected and analyzed. Information about female presence

concerning material, professional, metaphysical, religious,

economic, social life, rituals and status will be extracted

from visual sources in textbooks.

Visualization may have power to affect, but it can also have a

troubling fealty to traditions, both real and imagined. Is

there a pattern, or motifs, that are repeated in Greek Cypriot

History textbooks related to patriarchal schemes about

historically authentic sexism in pictures and visual images,

are there visual female figures identified with specific

historical periods and practices or issues arise about

unequal gender roles, sexist or demeaning parameters of

represent femininity?

1. Introduction

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Textbooks, and specific the textbooks of local, Cypriot

history, were selected to be the subject of this study as

textbooks remain –at least for the Cypriot education system-

the basic learning tool for the acquisition of education

content the formal curriculum requires. Simultaneously,

textbooks are a powerful research tool, through which we can

study ethnic, racial, religious, linguistic, gender

identities, both through content and through visual

representations. Textbooks are the main vectors of the

prevailing social and cultural values in education, especially

as carriers of perceptions about socially acceptable forms of

femininity and masculinity, and gender roles of a specific

sociopolitical environment and in recent decades textbooks

have been the subject of systematic research (Tobin, 1990,

AAAS, 2001a,2001b, Giordanos ,2003, Kokkinos, G, Mavroskoyfis,

D.K, Andreou,P.A., Kasvikis, C., Maxouris,P., Athanasopoulou,

A., Iliadou-Tachou, S., Gatsotis, P.,e.a. 2008, etc). Official

textbooks reflect the aspirations and purposes of the dominant

discourse, chosen to adopt in order to embrace.

In the modern era studies that focus on topics related to

gender issues have increased significantly, in regard to

feminist politics, specialized historical studies of women,

and analyses of gender in the production of knowledge (Scott,

1986, Athanasiadou 1998 etc) In the international

arthrography/literature gender inequality was one of the first

areas of observation in the educational process (Vitsilaki-

Soroniati, Kapela & Mavratou-Alimprantis, 2001, Deligianni &

Frosi, 2003, Frosi, Kouimtzi & Papademos 2001, Kladouchou,

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2005.) and examine school textbooks, was a key area for

investigation gender issues and parametres .

The Patriarchal structure of knowledge, which tends from a

failing female presence and the specification of their

experience, is reflected both in the curriculum and in the

history textbooks (Αthanasiadoy &Petridoy, 1997b)

Research results have shown globally that in school history

textbooks the emphasis is focus on military events, politics,

diplomacy, trading relationships or economy (Frosi, L. 2003).

The feminist analysis, and the review of literacy, art,

social sciences, medicine, school textbooks and the discourse

developed within those frames have revealed and highlight the

significant extent in which the above fields have temporal

adopt and espousing unsubstantiated estimates and biases on

gender issues (Stanworth, 1986). Additional to the above,

modern research and the rhetoric that develops, explores

gender identities not only as elements of personality but

rather as factors that significantly affect the distribution

of roles within the acceptable, from any social context,

social structures. (Delygianni-Kouimtzi, B. & Sakka, D.

2003).

Gender identities are a multidimensional phenomenon, with

historical and social extensions. In history textbooks the

women experiences, achievements, successes, or contribution

are excluded from the gaze and the interest of the historians

and the activity of women in areas of domestic work and care

or active participation in low and degrading work, which

allowed the participation and the involvement of men in public

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life, is suppressed and concealed (Adams, 1982, Athanasiadoy

& Petridou, 1997, Frosi,L. 2003).

2.Visual Representations and visual narratives

The significant majority of research related to gender issues

identified in textbooks centered and focuses on the study of

content. Until recently textbooks in the Cypriot educational

system premium of the verbal, written text, without leveraging

the image as semiotic mode (Karantzola,E.& Intides, V. 2003).

The requirements and aspirations of modern societies mutate

into cultures where the optical material (Wu, Krajick, &

Soloway, 2001, Pozzer & Roth 2003) and the visual culture

dominates, coerce to the adoption of the images polysemy and

multimodality and led to a significant increase in optical

material placed in historical manuals (from 98 pictures

included at “History of Cyprus” to 239 in the "From stone to

clay".) Thus, the present study attempts to approach the use

of visual representations selected to be included in modern

textbooks.

Although the definition of ‘Visual Narrative’ is not

explicitly spelled out, Julia Murray mentions a conceptual

frame/definition of ‘narrative illustration’ as: the pictorial

representation of or reference to one or more “events” that

occur in a sequence of time and that bring about a change in

the condition of at least one character (Murray, 1995:17). For

Murray the term ‘narrative illustration’ is a synonym of

‘Static Visual Narrative’ and refrains from using the words

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‘narrative illustration’ or ‘pictorial storytelling’ (words

synonymously used by Murray) in favor of the much more

flexible term -- ‘Static Visual Narrative”. ( Pimenta,S.& Poovaiah,

R, ). Static Visual Narrative as a notion that comprises of a set

of physical markers on an immobile medium, which presents the

content (story) through a mechanism of temporal and spatial

visual representation.

In recent years both the study of history in schools and the

work of a growing number of professional historians have

placed greater emphasis on the use of visual images as sources

of historical evidence. Unwin (1981), Peter Bruke (2003),

Kress και Van Leeuwen have provide valuable guidance on the

ways and methodology in which visual materials might be used.

Despite the increased use of visual images in the classroom

and a more general recognition of the importance of visual

literacy among educationalists, what appears to be

problematic, according to Bruke (2003), in the management of

images is the fact that "the main protagonist is never painted. It is

the spectator, who is located in front of the image and

always is supposed to be a man, everything addressed to him.

introduction and adoption of the image of femininity is

supported by the male gaze of the patriarchal unconscious.

Student s' understanding of the experiences of men and women

in past societies are likely to be influenced by the optical

sources encounter in their history textbooks; a range of

images which address the experiences of groups which have been

traditionally under-represented.

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3. History Textbooks:

The official history textbooks that have been studied are :

For Third Grade:

• From stone to clay, for 3d grade,

• From clay to metal ,

• My story, my stories, our story, our stories

For the fourth grade:

• From Cyprusgeometrical to the Cypriot Hellenistic times

For the fifth and sixth grades:

• History of Cyprus

The visual representations and narratives were divided into

two main categories: (a) photographs, including photographs of

primary source material such as artefacts, paintings,

documents and buildings; and

(b) modern sketches and reconstructions. Each category was

further subdivided into images showing both sexes, those which

feature males, those which show females, and those with no

people or where, as in certain crowd scenes, it is difficult

to determine whether die people represented are male or

female.

The textbooks will be chronologically present, in order to

observe possible mobility / transportation requirements in the

selection of visual material concerning to the female

presence.

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3.1. “History of Cyprus”

The book “History of

Cyprus”, for the 5th

and 6th grades was

first published at

1989, its written by

Andreas Polydoroy and

reflects the major

trends of Cypriot

society and education

system of the

corresponding period.

The book has not been replaced since.

In the specific textbook only 8 representation of women and

feminity can be found and 28 of men in totally 98 images.

The Unequal representation of women involves The Tisiano’s

painting of Ekaterina Cornaro, a sketch of Saint Constantinos

and his mother, Saint Helen, 3 mosaics, were the women are

placed in the background, the Theseus’s mosaic with Ariadne

and the Dionysus ‘s with Acme and the Madonna of the

Aggeloktisti church at Kitio. A nativity mural is also

included in the school book and a statue of Aphrodite can be

found in the textbook. There is also a picture of a female

teacher, who teaches in a tent after the Turkish invasion.

The presence of women is silenced, and they are excluded from

the social, political, professional and religious aspects and

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parameters. lack of references to women's work and they are

entirely absence from the social sphere and active

citizenship.

What appears to be more problematic is the fact that even

the few references to women do not, with the exceptions of

Queen Caterina Cornaro, female teacher and Aphroditi,

autonomously present them but females identified only through

social relationship with a male, and only recognized as

virgins), wives or mistress (Ariadne, Acme,) or mothers (Sain

Helen, Holy Mary).

Even in the paradeigms where women depict autonomously, the

representations selection remains problematic. Catherine

Cornaro portrait was included because of the illustrious,

male artist (Titian) where the selection of Venus is

associated inextricably with the desired sexual object of the

dominant male and the female teacher- in a traumatic period

for Cypriot history - has extrapolated the ethics of care,

considered to be synonymous with femininity.

3.2. “From stone to clay” and “From Clay to metal” for the

third grade, “From Cyprus geometrical to Hellenistic

period”

The textbooks for the 3rd grade were first published at 2001

and subsequently the history book for the 4rd grade was

circulate.

The visual representations in the previous school books are

mainly illustrated sketches, similar to the comics

illustrations. Abundant photographic material also

encapsulate, mainly associated with archaeological sites.

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In the 3rd grade

textbook “From stone to

clay” 63 women

representations can be

found and 92 in the

history book “From clay

to metal”. Twenty nine

references to women are

enumerate for the 4th

grade textbook.

Although in the later, subsequent books the number of

representations regarding the female presence appears to be

increased, the attentive study of the visual illustrations

selected to include in the history textbooks reveals important

parameters and mechanisms that attempt to construct and

substance femininity and its Tropism and practices. from a

total of 63 references from the textbook “From stone to clay”

and 46 “from clay to metal”, the female representation is

Myrto, the girl narrator (with Stefanos, the boy narrator) who

introduce and exhibit students to the periods from the Stone

to the Bronze Age. Myrto introduces topics related to

artcrafts, child care, household care while Stephen in

subjects related to the mobility of population, tools

construction, colonization, cooper mining. Despite the

frequent presence of Mirto, her presence in no way connectes

with the historical representation of women, is simply an

attempt by the illustrator to include both genders of students

rather than restore the active participation and involvement

of women in history generally , and especially the history of

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Cyprus. The fourth grade textbook, which adopts the same

ideology with those of the third, has far fewer

representations of women since the girl narrator does not

exist.

An initial observation in the books of the third grade

reconstruct men as gatherers, hunters, fishermen, farmers,

builders, owners, breeders,

warriors, builders, kings,

goldsmiths, to engage in

financial transactions, traders,

active participants of

citizenship and governance, to

be religious leaders and

magicians. Women's role is

limited to being men’ s

spectators, mothers (supervise

children and to breastfeed), to

produce clothes, process foods

while acting ancillary to male

occupations, as in the cases of women who are placed at the

background, on a smaller scale than men reapers, gather cobs.

In the 4rth grade book, where only the 7,3% of the total

images involves women, women are excluded from almost all

depictions trading, except those with noblewomen observe

jewelry and fabrics. Despite extensive references to

governance systems, no woman presented to participate, along

with all references to war events. During the archaic era,

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only one reference can be found, a “kori” (the female kouros)

practical that repeated and during the classical period,

where the female presence is only indicated by the two busts

of Venus. Women who actively appear to participate in social

life and rituals, eg symposia are concubines and Flute-playing

girl and servants.

Moreover, the images are conservative and puritan, since the

female breast, male subject of pretention, claim and

imagination, always remain covered, unless the female

breastfeeds.

In illustrations, women are place at the background, with

reduced size and the colors used are not as bright as those of

men. commonly the females are placed on the right side of the

picture (83,2 %), since the gaze of the majority of the

population –whom are right-handed, focus on the left part.

All women are white, even those who appear at the harbor, are

slaves or live in captivity. Concealment of the diversity of

women's groups, in color, ancestry, religious beliefs etc.

deprives students awareness of pluralism, multi-dimensional

female presence. Mechanisms stereotypically underestimate and

degrade the female presence, become manifest

at visual representations .

The newest book for third grade is “My

story, my stories, our story, our stories”.

It was recently published, during the

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school year 2012 – 2013. The particular textbook was written

based on the principles governing the introduction of new

curricula at 2012 and was, in general, focus on the

development of historical literacy. One of the goals of the

modern history curriculum is to be given the opportunity to

male and female students to work with the stories of different

groups: men, women, children, ethnic, social and religious

groups at local, regional and global level.

But how the goals and objectives were interpreted and

transferred to the new textbook regarding the representation

of women and feminity?

In contrast to the earlier books, the particularly textbooks

barely includes sketches, artwork or illustrations, taken

from the previous school book. The majority of the visual

material placed in the “My story, my stories, our story, our

stories” associates with authentic photographs, result of the

historians methods, research and practices, primary and

secondary history sources (weapons, jewelries etc.). In

particular, in the new history textbook there are no children

guides / (as Myrto and Srefanos were in the previous one)

presenters, just sporadically tiny children –both boys and

girls or children with disabilities- artwork/ sketches are

placed.

From the total of 265 representations only 2 are direct

references to women (eg. The Xatza woman) where 18 direct

references can be found for men. The photos associated with

male presence present scientists/paleologists, divers, or the

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images deal with mobility, transportation and politics issues

and context. One can reasonably assume that it is not

possible to identify significant changes in the way the women

and femintity represent.

Although the number of the direct visual material

presenting women and feminity is limited, significant

differences and displacements can be detect. The emphasis on

visual representations chosen to be placed in the specific

textbook was given to their use as a tool for develop

students reflection and critical thinking. The majority of the

representations functions as sources for reflection.

Systematic attempt identified in order to avoid the presence

of gendered characteristics that relate to social,

professional, economic, religious approach to the presentation

of primary and secondary sources (eg tools or jewelry

presented without showing the person's gender that could

potential to use them).

The visual emphasis is given in the material civilization,

develop during paleolithic, Neolithic and the copper time.

Agricultural,

fishing,

hunting tools

are

analytically

presented, so

as needles,

utensils and

weapons. A

relative

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balance can be found in the number of objects of material

culture that are placed as sources:

In addition to the previous, the presentation of the

archaeological relics that are not accompanied by sketches and

drawings that show the person that may had used them, allows

students to ponder over, and reflect on, the potential use

from men and/or women.

Furthermore, the women participate at the ritual shown in the

books, as in religious affairs, burial customs and habits.

Stereotypes and components that have traditionally been

associated with feminity, like the use of jewelry or mirror,

deconstructs through possible questions that allow the

dissemination in various groups.

But Can we argue that in the new history textbook the male

hegemonic gaze is absent?

The detailed study of this textbook reveals that although,

compared to the earlier textbooks, optical material which

related with gender stereotypes have significantly been

reduced, the patriarchal structures lurks.

The insignificant number of visual representation about

fertility goddess is problematic and leads to silencing of

sacramental status of women, especially during the Paleolithic

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and Neolithic times. The goddess is not representing, while a

statue of AphrotideAstarti is placed among the cooper god,

although her worship predates. Also images selected for

consideration in the Bronze Age, under review "How we spend

our day" show Otzi, a man that represendes the habitants of

that. as well as in thematic Neolithiklis season sketch shows

group of men to decide on the space will build the new

settlement.

It is also problematic the fact that all textbooks

systematically ignore the female figures that traditionally

and historically have connected to the Cypriot history and

mythology, Aphrodite, Madonna and Rigaina. The references are

absent or if they can locate are sporadic and fragmentary.

This has not detected for male behavior patterns that promote

bravery, skillful political views, or business acumen, and the

history textbooks include references about them, e.g. Diogenes

Akritas or Evagora

Conclusions:

According to aforementioned, in each version of textbooks the

position of women in the visual material is improving,

although there is still significant changes that should be

made to remove sex-linked stereotype strapped individuals in

specific roles and orientations. The new National Curriculum

history, with its emphasis on the development of historical

skillsand its acknowledgement that these skills cannot be

divorced from historical knowledge,does provide opportunities

(osler,1994) for the inclusion of the history and experiences

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of women who have traditionally been under-represented within

the historical record. These opportunities need to be

identified and exploited to achieve a more gender-balanced

history andguarantee genuine equality of access to the

curriculum. This process must not simply be about including

the experiences of women within the historical record, it must

also be about looking at history through the eyes of women and

allowing women to speak for themselves.

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