This paper examines the relationship between innovation, care and cultural education in modern primary schools, with particular emphasis on music and the arts as pedagogical fields of social awareness, participation and democratic coexistence. In the context of modern educational transformations, the concept of care is not limited to an emotional or moral dimension, but emerges as a basic pedagogical principle that influences teaching, school culture, interpersonal relationships and the way in which the learning experience is organized. At the same time, innovation is not simply identified with the introduction of new technologies or alternative methods, but with the formation of educational practices that respond essentially to the needs of children, enhance participation, inclusion and creative expression. The study is developed on two interrelated levels. On the one hand, a theoretical approach to the pedagogical care, aesthetic experience and social value of cultural education is attempted, with reference to key theorists such as Nel Noddings, Joan Tronto, John Dewey, Elliot Eisner and Maxine Greene. On the other hand, empirical examples are presented - applications of innovative and caring practices through music, visual arts, theatrical expression and interdisciplinary artistic activities. Through a reflective analysis of everyday school life, it is argued that the arts can function as an essential place of care: to make children's needs visible, to create conditions of listening and reciprocity, to enhance self-expression and to cultivate collective ethos. The elementary school, when it invests in such practices, is transformed from a place of simple transmission of knowledge to a community of relationships, creativity and meaning. The paper concludes that education through care, in direct connection with music and the arts, constitutes not only a pedagogical choice, but a broader cultural and social proposal for the school of the 21st century.

Keywords: care, innovation, primary school, music education, arts, cultural education, reflection, inclusion

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

This study interrogates the Valley of Tempe as a manifold semiotic canvas whose meanings and connotations have been repeatedly redefined across the twentieth and twenty-first centuries. By conceptualizing Tempe as a cultural palimpsest, the study argues that each mythological or historical layer, whether scientific, aesthetic, spiritual, or mnemonic, demands a specific modality of cultural literacy. Here, literacy is understood not merely as the ability to decode and comprehend cultural texts but as a politically, socially, and ethically situated practice of interpretation and commitment. Through a comparative analysis of four distinct discursive articulations, namely the topographical report of Eleftherios Gardelis (1909), the aestheticized travel writing of Kostas Uranis (1930s), the mythopoetic songwriting of Thanasis Papakonstantinou (2006), and the testimonial accounts emerging in the aftermath of the 2023 mass-casualty railway disaster, which inevitably echoes the region’s scarred history of the 1999 and 2003 vehicular tragedies, the paper charts a diachronic shift in the literacies required by the landscape. Earlier representations presuppose a “sacred” literacy grounded in mythic resonance, natural sublimity, and positivist authority. In contrast, recent narratives call for a “profane” literacy shaped by technological violence, infrastructural vulnerability, and the ethical imperative to confront topocide and collective trauma. To theorize this shift, the paper employs Noddings’ “Pedagogy of Care” as its primary interpretive and pedagogical platform. Care, conceived as relational attentiveness, ethical responsiveness, and a predisposition to be affected by the Other, constitutes a requisite framework for engaging with the contemporary inscriptions of Tempe. In this sense, cultural literacy in modern Greece is no longer oriented toward the appreciative consumption of natural pulchritude and ataraxia but focuses on the empathetic witnessing of collective bereavement and systemic failure. The Valley of Tempe thus evolves into a paradigmatic site where literacies of place, affect, and responsibility converge, offering a critical lens for reflecting on how landscapes teach, unsettle, and reconfigure our moral stance.

Keywords: Trauma Literacies; Ethical Witnessing; Place-Based Learning; Semiotic Landscapes; Relational Pedagogy 

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

In contemporary educational discourse, care is increasingly recognised not merely as an ethical imperative but as a relational and pedagogical condition through which children experience belonging, emotional safety, and meaningful participation in shared cultural life. Within this framework, music education may be reimagined not solely as aesthetic transmission or skill acquisition, but as a practice of attunement, co-presence, and communal becoming. This theoretical paper proposes the concept of a sonic ecology of care as a philosophical and pedagogical framework for early childhood education, drawing on the sonic, ritual, and relational affordances of Byzantine chant and Greek traditional music. Rather than approaching Byzantine and traditional musical repertoires as static heritage content, the paper reconceptualises them as living sound environments of play, listening, embodiment, and relational meaning-making. Particular emphasis is placed on core musical-cultural forms—including lullabies, ritual songs of seasonal greeting, circular singing games, responsorial structures, modal melodic movement, and the communal resonance of isokratema—as practices capable of nurturing emotional co-regulation, attentiveness, interpersonal synchrony, and a culturally grounded sense of belonging. Through playful musical encounters, children are invited into sonic spaces where care is enacted through rhythm, breath, repetition, embodied listening, and collective voice. The paper develops this framework through an interdisciplinary dialogue between the ethics of care (Nel Noddings), play as transitional and creative space (Donald Winnicott), flow and optimal experience (Mihaly Csikszentmihalyi), participatory musicking (Christopher Small), embodied music pedagogy (Émile Jaques-Dalcroze; Carl Orff), and cultural memory (Jan Assmann). It further engages the philosophical notion of natality articulated by Hannah Arendt, foregrounding childhood as a space of beginning, plurality, and world-making through shared sonic experience. By positioning Byzantine chant and Greek traditional music within a relational pedagogy of care, this paper contributes to current debates on well-being, inclusion, and the social value of cultural education. It argues that traditional musical practices can function as ethical and affective commons in early childhood settings, offering culturally rooted pathways toward resilience, empathy, communal imagination, and democratic participation. In doing so, the paper advances a vision of music education as a socially responsive, culturally sustaining, and care-informed educational practice aligned with the central aims of RIAM 2026.

Keywords: Sonic Ecology; Cultural Memory; Embodied Musicking; Playful Learning; Music and Well-being

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

This paper explores the role of music and the arts in secondary education as essential components in fostering relationships of trust between students and teachers, while also cultivating empathy and emotional development. It focuses on children’s emotional growth, recognising that students often express themselves through non-verbal means and, through participation in artistic activities, experience positive and meaningful learning opportunities. Simultaneously, a positive climate of acceptance is established, as students actively engage in diverse artistic activities without experiencing feelings of rejection. Within educational contexts characterised by increasing diversity among student populations, the need to establish a school culture that extends beyond the simple transmission of knowledge and embraces positive experiences and creativity becomes increasingly important. Music and the arts provide opportunities for emotional expression and interaction among members of the school community. Students are able to communicate their perceptions through drawings, artistic creations, or musical choices and, in doing so, experience positive forms of engagement. The combination of image, speech, sound, and visual representation enables all students to participate actively in the educational process and appears particularly beneficial for students with special educational needs who may experience difficulties in written language use. Participation in artistic activities contributes to students’ understanding of their own emotions and encourages them to place themselves in others’ perspectives, exposing them to diverse viewpoints while transforming learning into a multisensory experience. Particular emphasis is placed on the emotional acceptance of students by teachers, who function not as evaluators but as facilitators encouraging students’ free expression. Teachers promote collaborative artistic practices, such as group musical compositions and dramatization of literary texts, allowing students to engage actively without fear of failure, as there is no single “correct” answer. Furthermore, music and the arts contribute significantly to the development of inclusive environments. Through collective artistic activities, students collaborate and experience acceptance from their peers, while diversity is approached as a source of enrichment rather than exclusion. Creative expression provides opportunities to strengthen self-confidence and reduce the marginalisation of individuals who may differ because of particular characteristics. Through theatre, visual representations, and musical experiences, intercultural understanding is enhanced, as students interact with peers from diverse cultural backgrounds and exchange meaningful experiences. Finally, the paper highlights the importance of strengthening connections between schools and the wider community through cultural and artistic activities. Students come to understand that learning extends beyond the classroom into the broader social context through school performances, musical events, artistic projects, and collaboration with local communities. Experiential learning is therefore realised in practice rather than remaining merely instrumental. In conclusion, the arts play a crucial role in establishing inclusive educational environments that support the holistic development of students.

Keywords: Pedagogy of Care, Social Inclusion, Emotional Well-being, Intercultural Understanding, Arts-Based Learning

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

In this study we investigate how fractal geometry could be used as an interdisciplinary approach for linkage of mathematics with the aspects of environmental consciousness and artistic creativity within the framework of informal and formal education for primary to secondary students. The study sought to promote environmental sensitivity and to stimulate students’ ideas about the correspondence between fractals in nature and mathematics. The intervention was implemented through a series of 90-minute workshops with a total of 110 students, including 70 primary school students (grades 4–6) and 40 lower secondary students (grades 7–9). Rather than adopting a purely theoretical perspective, the teaching design was grounded in hands-on, multimodal approaches to learning in which students actively experimented with fractals and fractal-generated mathematical formulas found in different natural elements such as leaves, pinecones, flowers, and even at the molecular level. By engaging in such exploration, students came to recognize the presence of similar mathematical patterns and structures in apparently distinct natural forms. Throughout the course, students engage in a variety of learning activities that combine analog and digital work. In some cases, students drew or painted hand-drawn fractals and then worked with programming software to generate digital fractals and visualizations of them. Students also worked with 3D printers to create three dimensional models of fractals in class, such as the pinecone fractal depicted above. Students then did a further exploration of the fractal by generating sound patterns based off of their understanding of the structure. By creating sound and then both hand-drawn and digital visualizations of their findings, students developed a solid understanding of fractals and were able to experience their properties both visually and aurally.

In the classroom-based data was collected through observation and student questionnaires. Students were asked to rate how engaged they felt during lessons, and to provide written feedback on their understanding of concepts related to engagement, maths and the environment, as well as their views on the learning experience. The vast majority of students felt engaged throughout the intervention and reported that the activities were some of the most enjoyable mathematics lessons that they had experienced. Through the activities, students gained insight into natural structures that exhibit fractal and mathematical patterns and greater awareness of relationships between mathematical concepts and the environment. The use of multiple senses (visual, tactile and auditory) assisted learners in building their understandings and consolidated their learning. This study shows how fractal geometry can be integrated with art and the environmental sciences to create and evaluate a highly engaging experiential learning experience that improves cognitive and affective educational outcomes. Participants applied their knowledge of fractals to understanding natural and artistic patterns while developing care, creativity, and curiosity regarding the natural and built environment, fostering an inclusive and holistic educational approach to sustainability.

Keywords: Fractal Geometry; Environmental Education; Arts Integration; Experiential Learning; Interdisciplinary Education

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

Click on the title to open the poster

In the context of the 11th-grade Philosophy curriculum (B’ Lyceum), Chapter 6, titled "Evaluating the Action," focuses on "The Justification of a Moral Stance." Specifically, in the section "Why be moral?", students are encouraged to explore and determine whether human beings possess an inherent need for morality or if ethics are externally imposed by laws, the state, or religion. This inquiry is conducted through selected songs, utilizing the method of Transformative Learning through Aesthetic Experience, as well as the principles of Experiential Learning. Initially, students record their personal perceptions regarding the origin of morality. Subsequently, they engage with a music video of the song "Heria san ki ayta" by the band Locomondo—a piece familiar to the students—presented on an interactive whiteboard. This auditory stimulus, accompanied by specific reading guidelines, triggers an analysis of the lyrics, followed by a whole-class philosophical dialogue. To conclude the discussion, the KWL (Know – Want – Learn) instructional strategy is employed, allowing students to map their thoughts and final conclusions. Furthermore, with the teacher’s live accompaniment on the guitar, students sing the song together, creating an environment of aesthetic enjoyment, experiential participation (methexis), and emotional resonance, which significantly enhances group cohesion. The lesson plan further incorporates two additional songs: "Thes" (composed by S. Korkolis, lyrics by R. Roussi) and "Tin porta anoigo to vrady" (composed by M. Theodorakis, lyrics by T. Leivaditis). Through these, students are tasked with analyzing, distinguishing, comparing, and categorizing related concepts, thereby identifying the core characteristics of moral behavior and action. This pedagogical practice effectively serves the targeted learning outcomes in alignment with contemporary educational trends regarding the development of knowledge, skills, and attitudes. Specifically, students are expected to: Identify the core characteristics of moral behavior and action, articulate and explain their arguments and personal reflections with clarity, compare, distinguish, and categorize related concepts, such as ethical versus unethical behaviors, analyze auditory stimuli and identify the underlying philosophical inquiries regarding ethics within cultural expressions, such as songs, present their own interpretations of song lyrics, experiment with novel activities, such as collective singing, express personal viewpoints and deliberate on the "deon" (what ought to be done), collaborate and engage in dialogue, defending their substantiated positions while actively participating in group activities (chorus/singing).

Keywords: Ethical Education; Music as a Pedagogical Tool; Transformative Learning; Experiential Learning; Philosophical Inquiry

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

Dimitrios Stamatelopoulos 

Click on the title to open the poster

This educational intervention was implemented within the Agronomy Laboratory of the Special Vocational Secondary School of Ano Liosia (ENEEGYL) and focuses on the interdisciplinary connection between agronomy and music within everyday teaching practice. The design is grounded in the principles of the pedagogy of care, placing particular emphasis on creating a learning environment that responds to students’ needs for safety, stability, and support. Considering the difficulties often experienced by students in special education contexts, particularly in relation to concentration, communication, and anxiety management, the intervention aimed to establish a predictable and supportive framework that facilitates the participation of all students. The approach combines agronomy-related learning activities with music-based practices. A central element of the intervention is the use of musical instruments not as objects of instruction, but as tools for supporting and structuring the learning process. The intervention is organised around three core activities. First, musical patterns are incorporated within the laboratory setting to support emotional regulation. Second, improvised musical instruments are constructed using natural materials such as seeds, leaves, and wood originating from agronomic activities, thereby promoting creative expression and active participation. Third, simple soundscapes are created within the school garden through listening to and using environmental sounds, which are subsequently combined with musical improvisation. The study was conducted as a case study employing participatory observation and documentation of students’ levels of engagement during the activities. The findings indicate that the use of music contributed to reducing anxiety, strengthening emotional security, and improving social relationships. Furthermore, increased levels of active participation and concentration were observed, with particularly positive outcomes among students with limited verbal abilities. In conclusion, the study proposes a teaching model that highlights the importance of interdisciplinary approaches and the integration of agronomy and music as a means of promoting inclusive learning environments.

Keywords: Special Vocational Education, Pedagogy of Care, Interdisciplinary Learning, Music-Based Practices, Inclusive Education

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

This specific work was carried out by the students of the 106th Kindergarten of Athens, through different stages, in order to cognitively approach, in an interdisciplinary and inclusive manner, a point - a landmark, identical with the name of our city, which we proudly see every day, the Acropolis. The implementation of an educational project for the Acropolis in preschool age is not simply an introduction to history, but a fundamental act of education for Sustainability, as toddlers, through experiential contact and play, develop a deep, emotional connection with cultural heritage, which constitutes the third pillar of sustainable development. The most basic points of this connection are: - the cultivation of identity and respect. Children understand that monuments, such as the Parthenon, are carriers of collective memory and values, thus cultivating a sense of responsibility for their preservation in the future. Thus, they learn that sustainability means protecting what we have received in order to hand it over intact to future generations - the holistic approach. By connecting the monument with the natural environment and the city, children perceive the Acropolis as a "living cell" that needs care, just like the environment, thus strengthening active citizenship from an early age - the transition from "me" to "we / us": Through group activities, toddlers, turn into little "guardians" of our heritage, realizing that the protection of culture is a common, timeless effort. In this context, the children learned what our city was originally called, by its founder. Afterwards, we delved into the mythological elements that reveal the dispute between the two Gods, which resulted in the renaming of the city, as we know it today. For the victory but also for the worship of the Goddess Athena, this great monument was built that came to adorn the sacred rock for centuries. The result of the entire structure of the project that was developed, with the initiative of the children and the guidance of the teachers, is the video that we present.

Keywords: Early Childhood Education; Cultural Heritage; Inclusive Education; Experiential Learning; Education for Sustainability

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

This paper presents a project-based learning (PBL) model for teaching a foreign language through the creation of a student-produced short film. The project was implemented with 9th-grade learners at the Second Gymnasium of Zakynthos (Greece) within the framework of the school’s participation in an Erasmus+ educational programme. The pedagogical intervention aimed to integrate foreign language development with intercultural education by engaging learners in the exploration of racism as a contemporary social issue. By addressing this theme through creative media production, the project sought to promote both communicative competence and social awareness, encouraging students to use the target language for meaningful expression and reflection (Dewey, 1938; Kolb, 1984). Throughout the project, students collaborated in groups to design the storyline, write the screenplay, create dialogues, and assign roles related to acting, directing, filming, and editing. The learning process followed a structured sequence of stages, including topic introduction, brainstorming and research, script drafting, language-focused revision, rehearsal, filming, and post-production. Each stage provided opportunities for authentic language use and negotiation of meaning, as students were required to communicate ideas, solve problems, and make collective decisions in the target language. Classroom support included guided instruction on vocabulary, grammar, pronunciation, and pragmatic appropriateness, ensuring that language learning objectives remained central to the filmmaking process (Ellis, 2003; Willis, 2007). The project is grounded in the principles of task-based learning and experiential education, emphasizing active learner participation and real-world communicative goals. In addition, it draws on theories of intercultural communicative competence and multimodal literacy, highlighting how audiovisual production can strengthen learners’ ability to interpret and convey meaning through multiple semiotic modes (Byram, 1997; Kress, 2010). The film production context enabled students to develop linguistic skills such as vocabulary acquisition, pronunciation accuracy, fluency, and functional language use, while also strengthening discourse competence through script coherence and dialogue development. Beyond language learning, the project supported the development of critical thinking, empathy, and intercultural awareness. Through guided reflection activities and structured classroom discussions, learners explored issues of discrimination, inclusion, and respect for diversity. These reflective tasks encouraged students to connect the film’s message with personal experiences and wider societal contexts, thus reinforcing the role of foreign language education in citizenship development (Byram, 2008). Assessment was conducted through both formative and summative methods, including teacher observation, peer feedback, evaluation rubrics for language performance, and reflection journals focusing on teamwork and intercultural learning outcomes (Black & Wiliam, 1998). The paper argues that filmmaking as a PBL activity increases learner motivation, strengthens collaboration, and enhances student autonomy by giving learners ownership of the learning process. Furthermore, it demonstrates that the foreign language classroom can function as a safe and productive space for addressing sensitive social issues when supported by appropriate scaffolding. Overall, the study suggests that integrating short film production into language teaching offers an effective and engaging approach to developing communicative competence while fostering intercultural sensitivity and responsible citizenship.

Keywords: Project-Based Learning; Foreign Language Education; Student Film Production; Intercultural Education; Anti-Racism Education

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725 

This paper presents an educational project investigating the teaching of a foreign language through Commedia dell’Arte within a tri-national collaborative theatre framework involving secondary school students. The project included three schools from Greece, Sicily (Italy), and the Netherlands, with a total of ninety 10th-grade students (thirty per country). English functioned as the lingua franca for all interactions, reflecting contemporary views of English as a global communicative resource rather than a native-speaker norm (Seidlhofer, 2011; Jenkins, 2007). The pedagogical intervention combined drama-based language learning with project-based and intercultural education. The final theatrical production was divided into three interconnected parts, each directed by a teacher from a different country. Each performance group consisted of a balanced mix of ten students from each participating nation. Students were assigned multiple roles, including actors, narrators, stage assistants, costume designers, and peer language supporters. This structure ensured differentiated participation and promoted cooperative learning, in line with social constructivist theories of education (Vygotsky, 1978; Bruner, 1986). The theoretical framework draws on communicative language teaching (CLT), which emphasizes meaningful interaction and real-life communication (Canale & Swain, 1980; Richards, 2006), as well as drama pedagogy, which views language learning as embodied, emotional, and experiential (Maley & Duff, 2005; Schewe, 2013). Drama techniques such as improvisation, role-play, and mask work were used to create authentic communicative contexts. These approaches also reduce language anxiety by allowing learners to speak “in role,” thus decreasing affective barriers to communication (Kao & O’Neill, 1998; Krashen, 1982). Commedia dell’Arte was chosen as the artistic and pedagogical framework due to its reliance on archetypal characters, improvisation, and physical expression (Rudlin, 1994). Its stock characters—such as Arlecchino, Pantalone, and Colombina—provided students with clear narrative functions while still allowing creative linguistic production. The physical and exaggerated nature of Commedia supported comprehension and participation even when linguistic competence varied, aligning with embodied cognition approaches to language learning (McCafferty, 2002; Pavlenko, 2005). Intercultural competence development was a central aim of the project. Through collaborative performance creation, students engaged in negotiation of meaning, conflict resolution, and shared storytelling across cultural boundaries. This reflects Byram’s (1997) model of intercultural communicative competence, which emphasizes attitudes of openness, knowledge of cultural difference, and interactional skills. The use of English as a lingua franca further supported authentic intercultural communication, where mutual intelligibility and accommodation strategies were prioritized over native-like accuracy (Jenkins, 2007; Seidlhofer, 2011). Methodologically, the project followed a project-based learning (PBL) design (Thomas, 2000; Beckett & Miller, 2006), combining structured theatrical planning with student-led improvisation. Data were collected through teacher observation and reflective documentation of rehearsals, focusing on language use, participation patterns, and group interaction dynamics. Findings suggest increased learner motivation, reduced speaking anxiety, improved oral fluency, and enhanced intercultural awareness. Students demonstrated growing ability to negotiate meaning, use compensatory communication strategies, and engage in spontaneous interaction. These outcomes support previous research indicating that drama-based pedagogy enhances communicative competence and learner engagement (Even, 2008; Dodson, 2000). The study concludes that integrating Commedia dell’Arte into foreign language education provides a powerful framework for combining linguistic development with intercultural and performative learning, offering a replicable model for international educational collaboration.

Keywords: Foreign Language Education; Commedia dell’Arte; Drama-Based Learning; Intercultural Communication; Project-Based Learning

Published in the RIAM 2026 Abstract Book

Tapsis, N., & Argyriou, M. (Eds.), 2026. DOI: 10.26215/heal.uoa.11725