Tracing emotional experiences and the well-being during the pandemic through drawings by Spanish children

Children & Society. 2025;39:111–127. | 111 wileyonlinelibrary.com/journal/chso Received: 6 February 2024 | Accepted: 26 July 2024 DOI: 10.1111/chso.12897 ORIGINAL ARTICLE Tracing emotional experiences and the wellbeing during the pandemic through drawings by Spanish children IvánRodríguezPascual1 | NaiaraBerasateguiSancho2 | AmaiaEigurenMunitis2 | MaitanePicazaGorrotxategi2 | NoemíSerranoDíaz3 | TeresaGonzálezGómez4 | EvaPalasíLuna5 1COIDESOUniversity of Huelva, Huelva, Spain 2KideonUniversity of the Basque Country/Euskal Herriko Unibertsitatea, Bilbao, Spain 3Department of Didactics, University of Cádiz, Cádiz, Spain 4ESEISUniversity of Huelva, Huelva, Spain 5Faculty of Social Education and Social Work, Ramon Llull University, Barcelona, Spain This is an open access article under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs License, which permits use and distribution in any medium, provided the original work is properly cited, the use is non-commercial and no modifications or adaptations are made. © 2024 The Author(s). Children & Society published by National Children's Bureau and John Wiley & Sons Ltd. All authors are part of the research team of the INFAPOST project (https:// infap ost. es/ en/ ), funded by the Spanish Ministry of Science, Innovation and Universities, whose main objective is to offer diagnosis and proposals for intervention on the wellbeing, inequalities and educational needs of the child and adolescent population after COVID19. Correspondence Iván RodríguezPascual, Faculty of Social Work of the University of Huelva (Spain). Avenida 3 de marzo s/n 21071. Huelva, Spain. Email: [email protected] Funding information Ministerio de Ciencia, Innovación y Universidades MICIU/ AEI/10.13039/501100011033/, Grant/ Award Number: REF and PID2020119011RBI00; Funding for open access charge: Universidad de Huelva / CBUA Abstract The changes in emotions experienced during the pandemic and their effects on children's wellbeing remain a significant issue. This study analyses 86 drawings created by children aged 5–13, collected in fieldwork conducted through workshops across various regions of Spain. The main objective was to describe how children portray their emotional changes and the resulting impact on their lives within the context of the pandemic. We employed qualitative bottomup logic to code the drawings using CAQDAS. Findings revealed a discernible emotional impact, expressed more explicitly by girls, 112 | RODRÍGUEZPASCUAL etal. INTRODUCTION Currently, it is challenging for us to reflect on the past as society increasingly references a return to ‘normality’. While such discourse is embedded in collective thinking, we must not overlook or dismiss the profound societal consequences of the COVID19 pandemic, particularly within the most vulnerable social strata, such as children (Berasategi etal.,2020; Varela etal.,2023). Globally, across numerous countries, the closure of schools during the pandemic confined children to their homes (United Nations Educational, Scientific and Cultural Organization,2020). This confinement was notably rigid in Spain, enforced through Royal Decree 463/2020 (Grechyna,2020). The associated regulations propagated a discourse that could potentially stigmatize children, framing them as potential virus transmitters and posing a threat to older generations (Berasategi etal.,2020; RodríguezPascual,2021). Consequently, health professionals warned about the adverse physical and emotional effects that these measures could impose on minors. As various studies examining the repercussions of the pandemic for children begin to surface, concerns emerge on multiple fronts. Although most children have experienced milder symptoms at the health level, some have developed severe disease (TorresCantero etal.,2022). There is also heightened apprehension about the potential development of multisystem inflammatory syndrome (MIDS) in children, a rare condition associated with COVID19 (Arango etal.,2021). Furthermore, the closure of sports facilities and restrictions on outdoor activities have notably impacted physical health, contributing to issues such as childhood obesity resulting from sedentary lifestyles (Bueno,2021; Formoso etal.,2023). In tandem with the impact on physical health, the mental wellbeing of children has been significantly compromised, and several studies point directly to the psychological impact of confinement on children (Amorós etal.,2022; Cowie & Myers,2021; Lillo etal.,2022; Restrepo etal.,2022; Unicef,2020). Many have struggled with feelings of anxiety, fear, sadness and stress stemming from social isolation, uncertainty and concerns for the health of their loved ones (Idoiaga, Eiguren, Berasategi, Picaza, & Dosil,2022). This imposed social isolation has additionally hindered the development of social skills due to a lack of interaction with peers (Carter etal.,2023). At the educational level, the closure of schools and the shift to online learning posed additional challenges for many children, particularly those with limited resources who lacked electronic devices or internet connectivity (GarcíaGutiérrez etal.,2023; LópezAguado,2020; López etal.,2020; Medrano etal.,2020). This predicament was particularly exacerbated for children with special educational needs or disabilities (Amorim etal.,2020). The period during which these children were excluded from the educational system has directly affected their academic progress, slowing their learning (Espinosa, 2020). Moreover, the pandemic has accentuated as well as lasting elements concerning the pandemic and the enduring restrictions on social interactions, even beyond the widespread lockdowns of 2020. KEYWORDS adolescence, childhood, drawing, pandemic, wellbeing 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License | 113 RODRÍGUEZPASCUAL etal. preexisting inequalities among the most vulnerable children. Some have even experienced nutritional challenges due to the absence of school canteen services (Save the Children,2020). Given the precarious state of child welfare amid the pandemic, it is imperative to continue investigating the longterm impact on the childhood experiences of these vulnerable children as well as assessing their agency and ability to navigate uncertain circumstances. Such efforts are crucial to avoid succumbing to the illusion of false normality that dismisses or erases the pandemic from collective consciousness. Indeed, it remains unclear whether the COVID19 pandemic will influence the development of mental disorders in minors (Santos etal.,2021). In this regard, the results of such studies could serve as a diagnostic tool, guiding the implementation of programs and interventions aimed at restoring and safeguarding child wellbeing. Moreover, this study is relevant for two reasons. First, it represents a research exercise occurring at a later phase or concluding period of the pandemic (officially declared closed by the WHO on May 5, 2023). This temporal positioning enables an assessment of the enduring emotional imprint caused by the pandemic and the 2020 confinements from the perspective of children. Second, the study is particularly relevant in a societal context that, at least initially, imposed exceptionally restrictive containment measures on the lives of children in Europe. Consequently, it is reasonable to assume that these measures have had a pronounced impact on both girls and boys. The importance of listening to the voices of children in the face of the pandemic: Participatory techniques The 1989 United Nations Convention on the Rights of the Child, coupled with the inclusive perspective, marks a pivotal turning point, recognizing children as subjects with rights and the child population as an integral part of the social structure (Howarth etal.,2021; Lansdown,2010; O'Kane, 2008). Therefore, children should actively participate in decisionmaking programs within both research and policy development (Barker & Weller,2003; Muscroft,1999). In this context, shifting from traditional research paradigms, an inclusive perspective emphasizes conducting research ‘with’ people, as opposed to ‘on’ or ‘towards’ them. (Gaintza etal.,2020; Nind,2017). Thus, when discussing the experiences and consequences children have faced during and after the pandemic, it is crucial to consider them as active participants in the research process rather than mere objects or informants (Pallisra & y Puyalto,2014). Recent works have highlighted the active role children might play through their agency in discovering or creating mechanisms to adapt to evolving and challenging circumstances (Oswell,2021; Wei,2023). Within this framework, creative and participatory methodologies challenge the power relations inherent in traditional research approaches (Howarth etal.,2021), affording greater control over the research agenda and providing more time and space for discussing issues of concern (Beresford,2016; Cornwall & Jewkes,1995). These methodologies actively involve individuals conventionally seen as objects of research, transforming them into coresearchers. In this regard, various investigations have demonstrated that children tend to articulate more when given the opportunity to draw or utilize supporting images to describe their experiences. This approach redirects attention to elements that might otherwise remain in the background, unveiling aspects of a situation that are difficult to approach through oral or written observations alone (Dockett & Perry,2005; Schratz & Walker,1995; Weidel,1995). Pictures or drawings offer an alternative means of expression, transcending literacy barriers (Young & Barrett,2001) and yielding a wealth of information in a short period. This approach offers a distinct and more enriching ‘new way of 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License 114 | RODRÍGUEZPASCUAL etal. telling’ (Fasoli,2003; Kirova & Emme,2006; Thomson,2009). It serves as a powerful means of making the invisible visible and provides a more nuanced understanding of experiences that may be challenging to articulate through traditional forms of communication. In this context, international research has focused on drawing to describe children's voices and perspectives in the aftermath of the pandemic. Specifically, a study conducted in the Basque Autonomous Community and Navarra analysed the different experiences of 1046 minors during confinement. The children participated by creating drawings as part of a questionnaire, expressing their sadness and fear regarding the possibility of transmitting the virus to their grandparents (Idoiaga, Eiguren, Berasategui, Picaza & Dosil 2022). Similarly, other studies conducted in Spain examining children's drawings during confinement highlight the importance children place on outdoor play and peer interaction (GonzálezCalvo etal.,2022). Additionally, these findings indicate the necessity of considering children's perspectives and emphasize the importance of social and inclusive education, advocating for policies that actively involve children in decisionmaking processes (Idoiaga, Eiguren, Berasategi, & Ozamiz,2022). Similar findings have been reported worldwide. For instance, Kirby etal.(2023) conclude, based on their analysis of children's drawings, that current education systems require reevaluation to better support students in an integral and effective manner. Sarkadi etal.(2023) demonstrated the efficacy of employing drawings as a technique for exploring children's emotional states, allowing for appropriate interventions. Likewise, the importance of capturing the voices of minors to influence public health policies has also been stressed (Thompson etal.,2021), as the implemented measures have resulted in low selfesteem, negative emotions and feelings of abandonment among children and young people (Tishelman etal.,2022; Vettori etal.,2022). Hence, various social spheres, such as education, politics and health, must make concerted efforts to promote child welfare. This approach necessitates children's active and genuine participation, utilizing techniques and methodologies that broaden perspectives to include diverse viewpoints and voices (DominguezSerrano & Pérez,2021). This article describes an investigation that, based on the analysis of multiple children's drawings collected from an extensive sample across various regions of Spain, seeks to identify the main indicators of the pandemic's impact on children's lives. The comprehensive scope of the study, including the representation of the diverse conditions experienced by children during the pandemic, makes it particularly relevant in a society that, especially in the first wave, implemented uniquely restrictive confinement measures affecting children's daily lives. It should be added that conducting fieldwork in 2022 makes this research particularly valuable, offering new insights into children's wellbeing at a later phase of the pandemic. METHODOLOGY This qualitative research, with an interpretative and phenomenological approach, focuses on the participant's own experiences and perceptions to get closer to their reality. In other words, the experiences of the children who participate in the study constitute the main source of knowledge. The study is based on an exploratory analysis of a large and diverse sample of n = 86 drawings created by children aged 5–13 years. Of these, 54 were created by girls, 26 by boys and 6 drawings could not be attributed to a child of a specific gender. These drawings were collected as part of the fieldwork conducted within the R + D + i INFAPOST project. While other phases of the project also involved group interviews with adolescents and young adults, our focus in this text is on analysing the socalled visual voices of girls and boys (Stirling & y YamadaRice,2015), highlighting 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License | 115 RODRÍGUEZPASCUAL etal. the emotional changes that occurred during these earlier developmental stages, in which drawing serves as a particularly expressive medium. This fieldwork initially comprised seven participatory workshops carried out with children from various social backgrounds and geographical regions in Spain. These workshops were designed to ensure adequate representation along the urban–rural spectrum and to include children from economically disadvantaged backgrounds, including migrant communities. In the final sampling phase, several schools and institutions were invited to nominate children who volunteered to participate. All workshops took place between April and May 2022, except for one held in Barcelona in December, with the majority conducted in publicly funded or privately subsidized schools. During these workshops, the children were invited to express their feelings about COVID19 through drawings, prompted by the question, ‘How do you feel when you think about the situation you are going through because of COVID19?’ Most of the children participating in the research were older than 8 years, so it was not necessary to provide additional clarifications to this question. Only in the case of one of the workshops, where there were participants below this age, were they asked to think about ‘their feelings’, ‘the things they do every day’ or ‘their mood’ during the pandemic as an example. No specific instructions were given regarding the inclusion of textual annotations in the drawings. However, many children spontaneously incorporated text as part of their illustrations. In the second part of the session, children had the option to provide voluntary explanations for their drawings, which were transcribed (In some cases, these texts were translated from other coofficial languages other than Spanish, such as Catalan and Basque.) and included in the analysis. Additionally, at least 28 more drawings were collected using the same question during a project event: a participatory workshop for children held in the context of the European Researchers' Night in September 2022. In this case, only visual material was collected. The participant characteristics are displayed in Table1. TABLE 1 Detailed characteristics of the participatory workshops of the INFAPOST project. Location Type Age No part. Girls Boys Location Huelva Urban school 9–10 10 7 3 Private Educational Center Las Mesas (Cuenca) Extracurricularrural 10–12 10 4 6 Municipal local: children at risk of exclusion Cádiz Urban school 11–12 7 4 3 Public Educational Center Sopelana (Bizkaia) Urban school 10–12 7 4 3 Public Educational Center Urretxu (Gipuzkoa) Urban school 12 5 4 1 Public Educational Center A Coruña Urban school 9–13 7 4 3 Public Educational Center Barcelona Extracurricular: urban 8–10 10 5 5 Socioeducational Center: children at risk of social exclusion Huelva Participatory event open to a diverse family audience 5–13 30 23 7Diverse Total 5–13 86 55 31 Source: Authors' own. 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License 116 | RODRÍGUEZPASCUAL etal. The objectives of the drawing analysis were twofold: (a) to identify signs of emotional shifts in children's wellbeing during the COVID19 crisis and (b) to analyse the expressed experiences of children during and after the pandemic crisis. Our analysis focuses specifically on the emotional impact of the pandemic rather than taking a general approach due to the particularly severe and restrictive early phases experienced by Spanish children, as discussed in the introduction. This highlights the importance of investigating the emotional repercussions of the pandemic. The CAQDAS Atlas.ti software (Version 9) was used to categorize all recognizable visual and textual elements in the drawings. The starting point was a visual analysis employing a strictly inductive or bottomup coding logic, progressively identifying single elements present in the drawings analysed and the accompanying textual elements until broader categories of analysis emerged. Several analysts resolved potential uncertainties in the coding work, providing an intercoding validation criterion. Most of the analysed material included drawings alluding to the pandemic and small phrases and textual references, all of which were coded. Through this process, at least 518 items were identified and tagged using 230 codes. Ethical aspects and limitations of the research In terms of ethical considerations, all children participated voluntarily and were provided with verbal information regarding the research procedure. Additionally, parental written consent was obtained before participating in the study. Throughout the research process, children were reminded on multiple occasions that they could withdraw from the study without facing any consequences and their informed assent was consistently sought to ensure their understanding and willingness to participate. There was also a commitment to safeguarding children from any potential psychological distress or suffering during the fieldwork, as agreed upon with the participating organizations. This research received approval from the Ethics Committee of the UPV/ EHU (M10/2021/370). RESULTS Through the progressive identification and coding of various visual and textual elements in the drawings, a general impression emerges of what Spanish children express (and how they express it) regarding their emotional experiences during the pandemic. To describe this representation, we initially outline the general evidence found. Subsequent sections will then detail the results concerning the emotional impact of the pandemic reflected in children's representations. Representations of the pandemic among the Spanish child population First, a consistent representation emerges across the diverse sample encompassing various geographic and contextual aspects. Despite this diversity, several elements are recurrent. The graph below illustrates the frequency of codes assigned to various graphic and textual elements in the 86 drawings. Specifically, elements appearing five or more times have been selected for analysis. Graph 1 highlights the high frequency of elements directly related to the health crisis, notably the virus (depicted 91 times) and the mask (38 times). Additionally, representations of the 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License | 117 RODRÍGUEZPASCUAL etal. children themselves are prevalent. Other elements allude to a period characterized by reduced use of public spaces, such as the home, the sun, the clouds and screens. Among these frequent elements, some indicate the emotional state of the child population, including depictions of crying, confinement and the emoticon representing sadness (Figure1). Following the initial descriptive coding, the subsequent step involved identifying and categorizing items that depicted an emotional state into two main groups: negative and positive emotions. A total of 213 items were categorized as representing ‘negative emotions’, while 91 were identified as conveying ‘positive emotions’. Due to their significant presence in the collected material, the analysis primarily focuses on the former category. Regarding the distribution of these elements across gender, considering the overrepresentation of girls (who constitute approximately 62% of the sample), the breakdown is as follows: in the ‘negative emotions’ category, 71.7% of the items were drawn by girls and 28.3% by boys. In the less frequent case of ‘positive emotions’, 77.9% were drawn by girls, with the remaining 22.1% by boys. Additionally, 138 elements containing textual information inscribed in the drawings were identified. This subset showed a less disparate gender distribution, with 66.3% drawn by girls and 33.6% by boys. Beyond their strict categorization, the collected drawings allude to a rich and complex emotional expression. Upon closer examination of the drawings and the accompanying textual elements, new interpretations emerge, offering insights into specific aspects of the pandemic. For example, one notable observation from the analysis reveals expressive differences in how boys and girls represent their experiences. Boys draw action scenes depicting efforts to stop or defeat the virus (see drawings 1 and 2 in the Figure2 below). In contrast, girls more commonly portray aspects of life and emotional experiences during the pandemic. They frequently resort to selfportraiture (sometimes accompanied by depictions of tears, as in the example provided below). The following figure offers a very expressive sample of these genderbased differences. These distinct visual representations are further supported by examining the frequency of appearance of labelled elements according to gender. Through coding, the elements drawn by FIGURE 1 Elements with number of appearances in children's drawings ≥5. 91 38 31 19 12 12 8 6 6 6 6 5 5 5 0102030405060708090100 virus mask girl house sun boy syringe clouds prison sad emocon crying hydroalchoholic gel hospital screen 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License 118 | RODRÍGUEZPASCUAL etal. girls and boys have been labelled, allowing us to identify those that are unique to each gender. In the drawings by girls, unique items include natural elements such as the planet, the rainbow or the stars. Additionally, representations of people and items related to the health environment (women, sick individuals and the Red Cross) and symbols related to the emotional world, such as hearts, skulls, emoticons and smiling monkeys, are prevalent. The list of unique elements in the boys' drawings is comparatively smaller, featuring items such as the police, computers and swimming pools. This can be further refined by considering the prevalence of the different elements in the drawings of each gender. By calculating the frequency of occurrence of various elements identified in girls' and boys' drawings, we have found that elements related to emotional expression are predominantly identified in drawings created by girls. For instance, sad stick figures (identified in 3 out of 4 instances) or emoticons that express sadness, confinement, or crying (all identified in 4 out of 6 instances) are more prevalent in the girls' drawings. Additionally, elements associated with the health crisis and the healthcare field, such as masks (identified in 26 out of 38 instances), hydroalcoholic gel (identified in 4 out of 5 instances) and antigen tests (identified in 3 out of 4 instances), are also more frequently represented in drawings by girls. The representation of the restrictive aspects of the pandemic on children's life The home as an expression of the emotional ambivalences of the pandemic As expected, in the representation of a pandemic era characterized by significant restrictions on movement and outdoor social activities, our analysis of children's drawings revealed frequent depictions of the home as the central place of life during the pandemic. The home ranks as the fourth most identified element in the set of drawings analysed, appearing in approximately 18%. These representations often feature stereotypical depictions of the home as a singlefamily dwelling (see figure below). Through the windows, girls and boys are commonly depicted observing life outside—a space they seem to gaze upon longingly from within. This external space is often adorned with radiant suns, trees or clouds. However, it also carries the threat of the virus. Figure3 illustrates two examples of this type of representation that emphasizes the role of the home as a refuge. Children's representations also explore the ambivalence characterizing the concept of home during the pandemic. On the one hand, the home is seen as a refuge from contagion and health risks prevalent in the public sphere. However, it is also depicted as a place of confinement and unwelcome seclusion, marked by rigid boundaries that separate children from an external space, FIGURE 2 Different representations expressed by boys and girls. [Colour figure can be viewed at wileyonlinelibrary.com] 1.Boy, 10 years 2.Boy, 7 years 3.Girl, 10 years 4.Girl, 12 years 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License | 119 RODRÍGUEZPASCUAL etal. resulting in an interrupted social life. This separation leads to diminished social relations, cultivating a sense of isolation and negative emotions such as frustration and sadness. The following drawing in Figure4, created by a 9yearold girl during one of the workshops held in Barcelona, serves as a poignant example of this ambivalence and its potential emotional significance. The drawing illustrates what should have happened just outside the house—the family celebration of her birthday. However, pandemic restrictions have prevented this. The solitary cake outside the house vividly symbolizes the rigid boundary imposed by the walls of the home for many children during the pandemic—both physical and pertaining to social relationships. The accompanying text provided by the child herself further describes the drawing. Prison as a metaphor for children's lives during the pandemic It is striking how children from various parts of Spain share a common representation of the pandemic, symbolized by an image of a prison. We have identified up to six drawings from different FIGURE 3 Representations of the home as a refuge. [Colour figure can be viewed at wileyonlinelibrary.com] 1.Girl, 9years 2. Girl, 9 years FIGURE 4 Representation of home as a space of confinement. [Colour figure can be viewed at wileyonlinelibrary.com] "I remember my birthday when I was 9 years old. We were confined,and I couldn't celebrate it, that's why the cake is outside the house. 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Adapting visual methods: Action research with Kampala street children. Area, 33(2), 141–152. https:// doi. org/ 10. 1111/ 14754762. 00017 AUTHOR BIOGRAPHIES Iván RodríguezPascual is a professor at the University of Huelva and executive member of the Sociology of Childhood Committee of the Spanish Federation of Sociology, with the sociological study of childhood and its living conditions being his main line of research. Naiara BerasateguiSancho is an education expert, sociologist and professor at the University of the Basque Country. Her line of research has focused on social and educational inclusion and on vulnerable groups and students with special needs and educational support needs. 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License | 127 RODRÍGUEZPASCUAL etal. Amaia EigurenMunitis is a social worker and professor at the University of the Basque Country. She has extensive experience as a social educator with children insituations of vulnerability. Her research focuses on intergenerational relationships. Maitane PicazaGorrotxategi is an education expert and professor at the faculty of education in the University of the Basque Country. Noemí SerranoDíaz is a psychopedagogue and specialist in early childhood education, professor at the Department of Didactics in the University of Cádiz. Teresa GonzálezGómez is sociologist and professor at the University of Huelva, as well as researcher in the field of social capital and urban studies and social participation. EvaPalasíLuna is a lecturer at the faculty of social education and social work in the Ramon Llull University and his field of specialization and research is childhood and youth studies. How to cite this article: RodríguezPascual, I., BerasateguiSancho, N., EigurenMunitis, A., PicazaGorrotxategi, M., SerranoDíaz, N., GonzálezGómez, T., & PalasíLuna, E. (2025). Tracing emotional experiences and the wellbeing during the pandemic through drawings by Spanish children. Children & Society, 39, 111–127. https://doi.org/10.1111/chso.12897 10990860, 2025, 1, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/chso.12897 by Universidad Del Pais Vasco, Wiley Online Library on [18/12/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License