Evaluating pain, fear, anxiety or stress/distress using children’s drawings in paediatric dentistry: a scoping review

2021 ◽  
Author(s):  
L. F. Sanglard ◽  
L. B. Oliveira ◽  
C. Massignan ◽  
H. Polmann ◽  
G. De Luca Canto
Keyword(s):  
Scoping Review ◽  
Paediatric Dentistry ◽  
Children's Drawings ◽  
Children’S Drawings

Depicting emotions for a male or for a female audience: Do children adapt the content of their drawings to the audience gender?

2021 ◽  
pp. 016502542110316
Author(s):  
Claire Brechet ◽  
Sara Creissen ◽  
Lucie D’Audigier ◽  
Nathalie Vendeville
Keyword(s):  
Content Analysis ◽  
Contextual Cues ◽  
Children's Drawings ◽  
Emotional Information ◽  
Facial Cues ◽  
Audience Control ◽  
Children’S Drawings ◽  
Explicit Mention ◽  
Female Audience ◽  
Therapeutic Settings

When depicting emotions, children have been shown to alter the content of their drawings (e.g., number and types of expressive cues) depending on the characteristics of the audience (i.e., age, familiarity, and authority). However, no study has yet investigated the influence of the audience gender on children’s depiction of emotions in their drawings. This study examined whether drawing for a male versus for a female audience have an impact on the number and type of emotional information children use to depict sadness, anger, and fear. Children aged 7 ( N = 92) and 9 ( N = 126) were asked to draw a figure and then to produce three drawings of a person, to depict three emotions (sadness, anger, fear). Children were randomly assigned to one of the three conditions: they were instructed either to draw with no explicit mention of an audience (control condition) or to draw so that the depicted emotion would be recognized by a male (male audience condition) or by a female (female audience condition). A content analysis was conducted on children’s drawings, revealing the use of seven types of graphic cues for each emotion. We found numerous differences between the three conditions relative to the type of cues used by children to depict emotions, particularly for anger and fear and particularly at the age of 7. Overall, children used facial cues more frequently for a female audience and contextual cues more frequently for a male audience. These results are discussed in terms of their implications in clinical, educational, and therapeutic settings.

scholarly journals White men and electric guns: Analysing the Amazonian dystopia through Shipibo-Konibo children’s drawings

2021 ◽  
pp. 204361062199583
Author(s):  
Thaís de Carvalho
Keyword(s):  
White Men ◽  
High Tech ◽  
Children's Drawings ◽  
Children’S Drawings ◽  
Racial Dynamics ◽  
Before And After ◽  
Andean Countries ◽  
The Village ◽  
Dual Capacity

In Andean countries, the pishtaco is understood as a White-looking man that steals Indigenous people’s organs for money. In contemporary Amazonia, the Shipibo-Konibo people describe the pishtaco as a high-tech murderer, equipped with a sophisticated laser gun that injects electricity inside a victim’s body. This paper looks at this dystopia through Shipibo-Konibo children’s drawings, presenting composite sketches of the pishtaco and maps of the village before and after an attack. Children portrayed White men with syringes and electric guns as weaponry, while discussing whether organ traffickers could also be mestizos nowadays. Meanwhile, the comparison of children’s maps before and after the attack reveals that lit lampposts are paradoxically perceived as a protection at night. The paper examines changing features of pishtacos and the dual capacity of electricity present in children’s drawings. It argues that children know about shifting racial dynamics in the village’s history and recognise development’s oxymoron: the same electricity that can be a weapon is also used as a shield.

The Usefulness of Children's Drawings in the Diagnosis of Headache

PEDIATRICS ◽  
2002 ◽  
Vol 109 (3) ◽  
pp. 460-472 ◽  
Author(s):  
C. E. Stafstrom ◽  
K. Rostasy ◽  
A. Minster
Keyword(s):  
Children's Drawings ◽  
Children’S Drawings

Kindergarten children’s perceptions of the social unrest in Hong Kong

2021 ◽  
pp. 1476718X2110627
Author(s):  
Caroline Cohrssen ◽  
Nirmala Rao ◽  
Puja Kapai ◽  
Priya Goel La Londe
Keyword(s):  
Hong Kong ◽  
Thematic Analysis ◽  
Media Coverage ◽  
Children's Drawings ◽  
Social Unrest ◽  
Protest Movements ◽  
Children's Perceptions ◽  
The Social ◽  
Children’S Drawings ◽  
The World

Hong Kong experienced a period of significant social unrest, marked by protests, from June 2019 to February 2020. Media coverage was pervasive. In July 2020, children aged from 5 to 6 years attending kindergartens in areas both directly and less directly impacted by the protests were asked to draw and talk about what had taken place during the social unrest. Thematic analysis of children’s drawings demonstrates the extent of their awareness and understanding and suggests that children perceived both protestors and police as angry and demonstrating aggression. Many children were critical of police conduct and saw protestors as needing protection from the police. Children around the world have been exposed to protest movements in recent times. The implications for parents, teachers and schools are discussed.

PERINGKAT PERKEMBANGAN LUKISAN KANAK - KANAK

2017 ◽  
Vol 5 (2) ◽  
pp. 14-20
Author(s):  
AZWADY MUSTAPHA
Keyword(s):  
Free Expression ◽  
Children's Drawings ◽  
Object Shape ◽  
Children’S Drawings ◽  
The Impact ◽  
Aesthetic Values

Pada umumnya, apabila kita mengamati lukisan kanak-kanak, kesan yang ditimbulkan oleh coretancoretan mereka adalah tidak menentu dan kadang kala menimbulkan kelucuan dan naif dimana coretancoretan tersebut tidak pernah dirancang sebelumnya, tetapi merupakan akibat yang spontan dari ekspresi yang bebas dan gurisan yang polos dengan bentuk-bentuk dan warna-warna yang selaras dengan kata hatinya. Kebebasan dan kemurnian yang dimiliki kanak-kanak adalah sangat dominan baik dalam coretan, bentuk objek, warna dan komposisinya sehingga sering dikatakan bahawa seni lukis kanak-kanak merupakan lukisan yang paling murni kerana masih belum terpengaruh seperti orang dewasa. Di sebalik lukisannya itu, apabila kita memperhatikan secara teliti, kita dapati nilai-nilai artistik dan estetik bahkan mempunyai sifat-sifat dan ciri-ciri yang abstrak.   In general, when we observe children’s drawings, the impact caused by the graffiti they are unpredictable and sometimes create humor and naive where graffiti was never designed before, but the result of a spontaneous free expression and record the plain forms and colors in accordance with their conscience. Freedom and purity of children are very dominant both in snippets, object shape, color and composition so that it is often said that children’s painting is a painting of the most pure because they have not been affected as adults. Behind their paintings, when we look closely, we find artistic and aesthetic values even have the characteristics of the abstract.

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