This presentation describes how two art educators who are also artists and researchers worked together to explore cultural similarities and differences between Greek and English stories and illustrations. They aimed to create a book for young children, which would enrich the children's knowledge of the two cultures, whilst at the same time encouraging them to think reflectively about their own practice and challenge their preconceptions. We live in an increasingly multi-cultural world. In the UK it has been estimated that more than three hundred different languages are spoken by pupils in London schools. Greek society which was congruent and homogenous is experiencing increasing diversity (Kanatsouli, 2002). Given these changes, understanding, tolerance, respect of cultures, beliefs, customs and heritage are becoming recognised as significant educational aims (Cotton, 2000). Research (Mason, 1999) indicates that cross-cultural learning can make a significant contribution to understanding and art education can play a vital role in this respect. However investigation of resources (Bedford, 2002) available for teachers found that most focused on well documented, but frequently misappropriated examples of world cultures. Few were concerned with explaining or respecting the culture from which they were drawn, preferring to emphasise the perceived design or artistic features of the work. Clearly such judgements did little to enable children to acquire a greater understanding of the cultures from which they were drawn. The need to expand cultural understanding has affected the role of art education. Contemporary art instruction calls for the incorporation into the content of artworks created by artists who represent a diversity of cultures (Nyman, 2002). One of the major strengths of illustrated literature for children is that it can familiarise them with images of their own and other cultures, societies and countries and offer ' a means of understanding cultural disparity' (Hunt, 1992, p.110). Pictures especially have an inherent and instant attraction and can communicate more universally and more readily than words (Nodleman, 1988). In particular, the picture book genre, where narratives are communicated primarily through the visual medium are an effective means of expressing and conveying cultural meanings. Indeed, Cotton (2000) states that picture books can show recognisable aspects of the world that children know as well as expanding their understanding of those outside their immediate experience. Picture books are an inviting and diverse art form. They are an accessible primary classroom resource (Eubans,1999) and their potential for children as a resource for art teaching has been broadly stressed (Johnson, 1994; Marantz et al, 1994; Mitchell, 1995). In Greece almost half the illustrated books for children, published each year are translations from abroad, and Europe in particular. Whereas in the UK it is estimated that only one percent of books from non-English speaking countries are published. For Meek (2001, p.90) the international success of books in English 'seem to have made the British readers more insular and nationalistic'. The outcome is that British children are deprived of the opportunity to enjoy a wider range of illustrative styles and genres or to be exposed to cultural plurality. Indeed, mass-production and international cooperation in the publishing industry may result in a bland, uniform pan- European style, which reflects no tradition or individuality. It was with this knowledge of the field that the collaborative project began. The presentation unfolds the tale. REFERENCES Anderson, C., Kauffman, G. and Short, K. (1998) 'Now I Think Like an Artist: Responding to Picture Books' in Evans, J. [ed] What's in the Picture, London: Paul Chapman Publishing Ltd. Bedford, D. (2002). 'Craft Education in the 1990s: Provision and Practice at Key Stages 3 & 4' . Unpublished PhD thesis. Roehampton University: London UK. Boulanger, S. (1996) 'Language, Imagination, Vision: Art Books for Children', The Horn Book Magazine, May-June, pp.295-304. Cotton, P. (2000) Picture Books Sans Frontieres, Oakhill: Trentham Books. Eubanks, P. (1999) 'Learning to Be a Connoisseur of Books: Understanding Picture Books as an Art Medium', Art Education, Vol.52, No.6, pp.38-44. Graham, J. (1990) Pictures on the Page, Sheffield: The National Association for the Teaching of English. Hunt, P. (1992) Literature for Children: Contemporary Criticism, London: Routledge. 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