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This study explores the integration of a mobile augmented reality (AR) application, Toy Box AR, into museum education, aiming to enhance children’s engagement with tangible and intangible cultural heritage. While AR technologies are increasingly utilized in museum contexts, there is a limited number of curriculum-based AR applications designed specifically for children. This research addresses that gap by developing and implementing Toy Box AR, an interactive mobile application based on the traditional toy collection of the Ankara Toy Museum. The study was conducted with 60 students aged 10–12 as part of the 4th-grade Social Studies curriculum, specifically within the “Culture and Heritage” unit. A three-phase museum education program was designed: pre-visit, on-site, and post-visit. During the pre-visit stage, students were introduced to the concept of museums and traditional toys through exploratory activities. The museum visit involved hands-on activities, a guided tour, and engagement with the Toy Box AR application. The post-visit phase included reflection and evaluation tasks. Data were collected through pre- and post-visit evaluation forms and an AR application evaluation form, all developed by the researchers. The qualitative findings revealed that students developed a deeper understanding of traditional toys, their materials, and their historical context. Additionally, they reported high levels of enjoyment and motivation, and many indicated that the application encouraged creative thinking by showing them how to design their own toys using simple materials. The results suggest that mobile AR technologies, when thoughtfully integrated with museum collections and formal curricula, have the potential to substantially enrich student learning outcomes. The study presents a child-centered, curriculum-aligned museum education model that promotes interactive, inclusive, and sustainable engagement with cultural heritage. This research contributes to both the museum education field and the design of educational technologies by demonstrating how digital tools can support meaningful and autonomous learning for younger audiences.
Introduction
Technology has significantly influenced how individuals socialize, learn, and experience entertainment, reshaping their perspectives and perceptions. The exponential growth of accessible information, fueled by the development and widespread use of technology, has given rise to self-directed and lifelong learning (Basham, 2019). Mobile technologies, in particular, have effectively condensed the world into a single device, making information available anytime and anywhere (Chandar and Ferraioli, 2021). This transformation has profoundly impacted teaching and learning approaches. Given the interests and needs of today’s “digital citizens,” or Generation Z, the integration of technology into education is no longer optional—it is a necessity. This generation, with its distinct relationship to technology, processes information and learns in fundamentally different ways than previous generations. As such, the education system is undergoing considerable reform to meet the needs of this evolving learner profile (Prensky, 2005; Accenture, 2022; Huang, Chen and Chou, 2016).
The rapid pace of digitalization has led museums to increasingly incorporate digital events and reach broader, more diverse audiences across different regions (Museum Booster, 2021). Museums are widely recognized as ideal learning environments, enabling individuals to engage with cultural resources at any time and from any location. Museum education has undergone a significant transformation in recent years, shifting from traditional, object-centered approaches to more interactive, learner-centered models (Hein, 2006). Museums today are increasingly recognized as important educational spaces that complement formal learning.
Recent advancements in mobile technologies have played a critical role in the widespread adoption of AR. With the integration of high-resolution cameras, fast processors, and AR-supported platforms in everyday smartphones, users are now able to access AR experiences with ease. In parallel, the development of computer technologies has also supported the rise of immersive tools such as virtual reality (VR), further expanding the possibilities of technology-assisted cultural engagement. Recent advancements in mobile technologies have played a critical role in the widespread adoption of AR. With smartphones now equipped with high-resolution cameras, powerful processors, and AR-compatible platforms, users can experience AR applications seamlessly in real-world environments. In contrast, the expansion of virtual reality (VR) has been largely facilitated by developments in affordable and portable head-mounted displays (HMDs), such as Oculus Quest and other standalone VR systems. The increasing availability of these devices, combined with improvements in computer graphics and real-time rendering capabilities, has made VR more accessible for educational and cultural use. In particular, digital tools such as mobile applications and augmented reality (AR) have begun to play a key role in enriching educational experiences in museums (ICOM CECA Austria & Österreichischer Verband der KulturvermittlerInnen, 2017). These tools support engagement, self-paced exploration, and personalized learning, while making museum content more accessible to diverse audiences. Despite this growing interest, there remains a need for child-focused, curriculum-integrated educational models that utilize AR technologies to foster cultural heritage awareness and creativity in museum settings (Xu and Pan, 2024).
They stand as quintessential examples of cultural production, encompassing the creation, dissemination, and consumption of cultural content (Venkatesh and Meamber, 2006:12). According to the updated definition by the International Council of Museums (ICOM), museums are permanent institutions serving society by researching, collecting, preserving, interpreting, and exhibiting both tangible and intangible heritage. Today’s museums strive to be public-oriented, accessible, and inclusive, promoting diversity and sustainability. They are committed to operating ethically and professionally while actively involving communities, thereby offering multifaceted experiences that foster education, enjoyment, reflection, and the sharing of knowledge. Integrating educational initiatives and digital technologies into museum practices is essential for effectively and meaningfully engaging contemporary audiences (Chiarello and Bursi, 2023).
Many museums address the diverse backgrounds and needs of their visitors by allowing them to personalize and enrich their experiences at various stages—before, during, and after their visit. Derry (2012) developed a “rulebook,” a compilation of ideas and principles derived from playful experimentation at the Manchester Museum, emphasizing the value of museums that embrace play and encourage learning through enjoyment. However, contemporary museums continue to face challenges such as limited display modes and fixed interaction styles, which can increase cognitive load and limit the depth of visitor engagement. Technology offers critical solutions for enriching the museum experience. It has significantly transformed how exhibits are presented and how audiences interact with them—through mobile applications, on-site interactive devices, and online accessibility tools. Since the early 2000s, augmented and virtual reality have emerged as key innovations within this evolving technological landscape, offering museums powerful means to enhance interpretation and engagement. By adopting immersive technologies such as virtual reality (VR), augmented reality (AR), and the metaverse—which remove physical constraints—museums can transcend spatial boundaries and become more globally accessible (Siegle, 2019).
Museums utilize augmented reality (AR) to enrich exhibits by overlaying digital content onto physical artifacts. This technology captures the attention of audiences, making the learning process more interactive and accessible, while also enhancing storytelling and deepening the contextual understanding of museum collections. AR is a transformative tool that integrates digital elements—such as images, text, and audio—into the real-world environment, thereby augmenting perception and interaction. Its applications in museums are extensive. One of the most common uses involves providing detailed object descriptions, enabling visitors to access supplementary information as they explore exhibitions. Some museums even employ AR to create virtual representations of artists alongside their works, with 3D avatars offering guided narration. Mobile AR, in particular, merges virtual content with real environments via smartphones and tablets. These mobile AR applications can significantly enhance exhibit presentation and respond to the evolving expectations of contemporary audiences in the digital age (Chong and Ye, 2022; How Museums are using Augmented Reality, 2019).
One of the most innovative advancements in mobile interpretation is the increasing use of augmented reality (AR) applications that combine geo-location features with advanced overlay technologies to project digital content directly onto users’ environments. Notable examples include the Museum of London and the Stedelijk Museum, which have pioneered novel approaches to presenting their collections beyond traditional gallery spaces. These institutions have effectively “mapped the past onto the present” by superimposing historical artifacts onto urban landscapes. For instance, the Museum of London’s Streetmuseum app functions as a standalone application, while the Stedelijk Museum integrated staff interaction into its AR experience, effectively “lending” its collection to enhance user engagement (Into Mobile, 2012). Such technologies allow museums to reimagine how artifacts are displayed, creating enriched and immersive visitor experiences. Beyond this, AR improves accessibility, supports advanced curatorial and preservation practices, enables the collection of visitor analytics, and promotes collaboration between institutions (Germak, Salvo and Abbate, 2021). Key mobile app features that empower users to personalize their museum experience include customizable, self-guided tours; free-choice exploration; wayfinding; bookmarking; and integration with social media platforms (Tsai and Sung, 2012; Rhee and Choi, 2015; Mortensen and Smart, 2007). These applications not only personalize the museum visit but also serve as powerful tools for independent information access, encouraging active engagement in the learning process. According to Rubino et al. (2014), an effective mobile app should present a streamlined interface with essential core functions, ensuring ease of use and decision-making. Content should be mobile-optimized, easily navigable, and adaptable to users’ individual interests. Hiramatsu et al. (2017) further emphasize that mobile applications can effectively engage younger generations with regional history and cultural heritage, while also fostering awareness of preservation.
The adoption of mobile applications has opened new channels of communication between museums and their audiences, extending interaction into the personal digital space of visitors and overcoming the physical limitations of the museum setting (Economou and Meintani, 2011; Siang et al., 2019). An effective mobile museum application is designed to deliver essential information such as the museum’s history, location, opening hours, ticket pricing, contact details, tour options, featured collections, educational programs, available languages, and feedback mechanisms. Developers have proposed a range of solutions for mobile museum applications, which can be categorized according to their primary functions: (1) apps for cataloging, storing, and managing collections; (2) apps designed to enhance the presentation of exhibitions, stimulate visitor engagement, and increase attendance; and (3) educational apps that support learning activities (Palumbo et al, 2013).
The mobile application of the Van Gogh Museum categorizes artworks and provides both audio and written tours, offering detailed information alongside maps highlighting nearby accommodations. It also features a comprehensive floor plan that identifies emergency exits, restrooms, cafés, and museum shops. Similarly, the Louvre Museum’s application includes the institution’s history, general visitor information, floor maps, and recommendations for nearby restaurants and shopping centers. The British Museum offers five separate mobile apps, with the main app covering topics such as museum history, structure, directions, retail and dining options, departmental overviews, gallery and room guides, key collections, and nearby hotels. The Natural History Museum in London offers an application that features information on its geological exhibits, exhibition routes, architectural layout, and facilities such as the Darwin Center and Attenborough Studio. The Prado Museum’s mobile application includes hotel information, museum tours, a detailed map, and sections on its history, mission, highlighted collections, and visitor guidance. The Metropolitan Museum of Art provides an app that allows users to personalize their experience based on collection preferences and includes extensive details about the museum’s architecture, artists, exhibitions, and amenities. The Tate Modern Museum’s mobile app offers similar features, including audio descriptions of key works, gallery and exhibition overviews, and facility information. As traditional audio guide systems have declined since 2010, mobile applications have increasingly replaced them (Kang et al., 2018). Museums and heritage sites typically offer two main mobile strategies: distributing dedicated devices or encouraging users to download apps onto their personal devices (Boiano et al., 2012; Fidas and Avouris, 2015). Among these, Android and iOS remain the most widely used platforms for delivering digital museum experiences (Li and Liew, 2015; Puspasari, 2020).
In Türkiye, museums operate under the jurisdiction of the Ministry of Culture and Tourism. Within this framework, the Ministry has developed a centralized mobile application titled Museums of Türkiye. In addition, several private museums have launched similar applications, and many maintain dedicated pages on platforms such as Google Arts & Culture. For instance, the TOFAŞ Anatolian Cars Museum offers a free mobile application with an integrated audio guide, available for both Android and iOS devices. The app provides users with a concise overview of the history of carriages and automobiles, along with a more in-depth tour option for expanded exploration. Similarly, the Atatürk Museum—managed by the Istanbul Metropolitan Municipality—has developed a mobile application that utilizes QR code functionality. During their visit, users can either enter artifact names or scan corresponding QR codes to access detailed information. Despite the large number and diversity of museums in Türkiye, the overall adoption of mobile applications remains relatively limited. Nonetheless, there is considerable potential for expanding mobile app use across the country’s museum landscape.
As noted by Huang and Benyoucef (2022), redesigning or updating mobile applications to more effectively address the diverse needs of users can result in increased user satisfaction. In this context, rapid advancements in mobile technologies and wireless internet infrastructure have significantly contributed to the expansion of mobile services within the cultural and tourism sectors. Presently, approximately 97% of the global population is connected to mobile cellular networks, and this figure is expected to surpass two billion users worldwide by 2025.
Based on the aims of the study, the following research questions were formulated:
How does the integration of a mobile AR application (Toy Box AR) into museum education affect students’ engagement and learning about traditional toys?
What are students’ perceptions of the educational value and usability of the Toy Box AR application?
In what ways does the application support creativity and cultural heritage awareness among children?
Ankara Toy Museum and AR toybox mobile application: development and practice
The study titled Toy Box AR: Museum Education with Augmented Reality Experience at Ankara Toy Museum focused on the development of a museum education program integrating augmented reality (AR) technology. The program was designed based on the toy collection housed at the Ankara University Toy Museum, which operates under the Center for Research on Child Culture (CRCC). It was implemented with children aged 10–12 as part of the 4th Grade Social Studies curriculum, specifically within the “Culture and Heritage” unit. The initiative examined the potential of mobile applications in museum education, assessed their influence on students’ perceptions and attitudes toward the museum, and evaluated the extent to which these technologies aligned with the learning objectives of the Social Studies program. In addition to addressing curricular content, the program aimed to foster essential competencies among students, including cultural heritage awareness, patriotism, evidence-based thinking, understanding of historical time and chronology, and recognition of change and continuity. The specific learning outcomes targeted in this context are outlined below:
– Conducting family history research using oral, written, visual sources, and physical objects.
– Identifying and presenting elements of national culture within their families, as well as participating in visits to nearby historical sites such as museums, mosques, tombs, and bridges, or engaging in oral and local history studies.
– Comparing traditional toys and games with their modern counterparts, with particular emphasis on concepts such as historical change and cultural sustainability.
The Ankara Toy Museum, frequently visited by school groups, was established with three core objectives: to preserve toys at risk of disappearing due to rapid social transformation; to conduct scholarly research in fields such as industrial history, cultural history, educational history, the history of childhood, and the history of play; and to educate children in disciplines including museum studies, art, history, and science through the lens of toys (Onur, 2016). The museum’s mission centers on documenting, preserving, and advancing knowledge about the history of toys, play, and children’s culture, while also ensuring their long-term sustainability. Additionally, the museum emphasizes the social history of childhood, fosters intergenerational connections, and highlights the developmental significance of toys in children’s lives (Artar et al., 2021). As both an educational environment and a research institution, the museum serves as a valuable practice-based learning space for teachers and students, particularly within the framework of the “Culture and Heritage” unit in the 4th-grade Social Studies curriculum.
Methodology and research model
This study employed a qualitative research design based on a case study approach. The aim was to explore how a mobile augmented reality (AR) application can be integrated into museum education for children. A curriculum-aligned, three-phase museum education program (pre-visit, on-site, post-visit) was developed and implemented using the Toy Box AR application.
In a qualitative research process, the researcher focuses more on how the research is conducted rather than what the truth of the research will reveal. At this point, it can be said that the researchers are also tools for data collection and analysis. As stated by Cooper and White (2012), the researcher who is not outside the research, who is directly involved in it (collecting data, interpreting the data collected, and transforming the concept in his mind into a structure at the end of all this), should therefore be willing and eager to carry out the study he is involved in.
The museum education program evaluation model chosen to explain the research is the CIPP (context, input, process, output) model developed by Stufflebeam. The CIPP Model is a model that allows the use of formative and summative evaluations of programs, projects, staff, products, institutions, and systems. It is seen that the model includes a process of describing, obtaining, and interpreting the necessary information (Stufflebeam, 2000). The participants’ readiness levels for the program, the teachers’ competence levels in implementing the program, the adequacy of resources, the adequacy of the teaching materials to be used, and the capacity of the school are the data that need to be determined at this stage (Gözütok, 1999). The evaluation of the process is the stage where the application is made. It is the process part where documents and strategies are used. Decisions are made and results are interpreted (Stufflebeam, 2000). In the pilot application of the study, the participant’s participation process is evaluated, and observation forms, questionnaires, achievement and performance tests, and inventories are used. According to the data obtained, it is possible to see whether the program is continued, changed, or removed (Gözütok, 1999).
The study consists of four phases sequentially: Development of the Mobile Application, Development of the Museum Education Program within the Scope of the Culture and Heritage Unit, Museum Education Practices at Ankara Toy Museum and Toy Box AR Pilot Studies, and Completion of the Application (See Fig. 1).
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Fig. 1
Phases of the study.
Study group
As illustrated in Fig. 2, the study was conducted with 60 students aged 10–12 enrolled in the 4th grade at a public school in Ankara, Türkiye. The participants were selected through purposive sampling based on their participation in the museum education program developed in collaboration with the Ankara Toy Museum. Necessary permissions and informed consent were obtained from the school administration, students, parents, and museum staff.
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Fig. 2
The Study groups.
Data collection tools
Three primary data collection tools were employed in this study: the Museum Education Pre-Information Form, the Museum Education Post-Evaluation Form, and the AR Mobile Application Evaluation Form. These instruments were designed by the researchers to assess students’ prior knowledge, learning outcomes, and experiences related to the museum visit and the use of augmented reality technology.
The Pre-Information Form was administered prior to the museum visit to evaluate students’ baseline knowledge and expectations about museums and traditional toys. The Post-Evaluation Form was completed after the museum education activities to capture students’ reflections and what they had learned through the program. Both forms consisted of open-ended questions appropriate for the age group.
The AR Mobile Application Evaluation Form was used to gather students’ feedback on their interaction with the Toy Box AR application, focusing on usability, educational value, and engagement.
The Toy Box AR mobile application, developed specifically for this study, was designed using the traditional toy collection of the Ankara Toy Museum. The app featured 3D models of ten traditional toys, audiovisual explanations, interactive mini-games, and creative tasks. It was integrated into the on-site phase of the museum education program as a tool to enhance experiential learning and cultural engagement.
Data analysis
The qualitative data obtained from the open-ended survey questions were analyzed through thematic analysis. Initially, two researchers independently reviewed and coded the entire dataset using an inductive approach. Each researcher generated preliminary codes by identifying recurring patterns, concepts, and expressions directly from the data, without imposing any predetermined categories.
Following the independent coding process, the researchers engaged in a collaborative discussion to compare their codes and resolve any discrepancies. During this process, overlapping codes were merged, divergent interpretations were negotiated, and thematic categories were refined to ensure consistency and reliability. Inter-coder agreement was reached through iterative dialogue rather than statistical measures, as is common in interpretive qualitative research. To assist in the organization and analysis of the qualitative data, MAXQDA 2022 software was utilized. This allowed for efficient management of coding segments, development of thematic maps, and transparent traceability from codes to raw data. Representative quotations were selected to support the interpretations and to give voice to participants’ perspectives.
Findings and discussion
Toy box AR mobile application
The Toy Box AR mobile application was developed for the Android operating system with the aim of providing users with a nostalgic yet educational experience by digitally showcasing traditional toys from the Ankara Toy Museum’s collection. Designed to both entertain and educate, the application brings museum objects into an interactive digital format. During its development, particular emphasis was placed on optimizing user experience to ensure the delivery of engaging and informative content. The colophon of the Toy Box AR is presented in Fig. 3.
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Fig. 3
Colophon of Toy Box AR.
The Toy Box AR application features ten traditional toys selected from the Ankara Toy Museum’s collection, each sharing similar characteristics, as shown in Fig. 4. The toys included are: Knucklebones, Peg Top, Traditional Dolls, Oxcart with Mallet, Walnut Spinner, Oxcart, Acrobat, Ratchet Toy, Whistling Pitcher, and Yo-Yo (see Table 1). These toys are presented through a variety of interactive elements, including informational videos, 3D modeling, mini-games, and sound effects. Figure 5 illustrates the icons representing each toy along with the corresponding presentation features within the app.
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Fig. 4
A snapshot of Toy Box AR Mobile App.
Table 1. The toys in the app.
Picture of the toy | Name of the Toy | Origin/material | Toy Box AR application feature |
|---|---|---|---|
Knucklebone | Original knucklebones | After pressing the “Start” button, the user throws the knucklebone by dragging their finger across the screen. The bone moves toward the circle based on the direction the user points their phone. The goal is to aim the knucklebone to touch the others inside the circle (Avcı et al., 2023). | |
Oxcart With Mallet | A wooden toy specific to the İskilip district of Çorum. | A video including both written and spoken information, explaining the history of the Oxcart with Mallet and functions. | |
Whistling Pitcher | A type of baked clay whistle, shaped from clay as a material. | After the user presses the start button and blows into the microphone, they interactively blow into the digital Whistling Pitcher on the screen, producing a sound. | |
Peg top | The traditional game of peg top is usually played with a wooden top that has a pointed end and the ability to spin. | The user throws the top by dragging their finger. It is thrown in the direction the user points their phone; users aim to throw the top inside the circle. | |
Acrobat | Wooden acrobats, resembling puppets, are typically made from flexible wood like poplar (populus alba), willow), and birch. | A video that includes written and spoken information and how it works. | |
Traditional Dolls | The most famous handmade dolls in Turkey are Ardahan-Damal, Cappadocia Soğanlı, Muğla Çomakdağ dolls, and Bursa-Keles dolls. | The app explains how to make a toy doll from a wooden spoon with video. | |
Ratchet Toy | Wooden ratchet toys are typically designed for babies and young children. | The ratchet toy is 3D-modelled and presented to make a sound when the phone is moved. | |
Oxcart | Wooden toy oxcarts are agricultural toys and are produced to teach children about traditional agricultural production (Göğüş ve Güneröz, 2023). | In the app, the oxcart is 3D-modelled and presented in a way that can be moved by the user through touch. | |
Yo-Yo | Yo-yos are made from various materials and among the traditional and industrial toys. | The app presents users with a video explaining the history of the yo-yo and how it works. | |
Walnut Spinner | The walnut spinner is made using walnuts, string, a wooden stick, and a wooden piece for the propeller. | A video including written and spoken information, explaining the history of the walnut spinner and how it works. |
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Fig. 5
The chart of icons and the app features for each toy.
The Toy Box AR mobile application was developed using marker-based augmented reality (AR) technology. Visual markers were placed next to each toy exhibit, and these markers were scanned by the users’ mobile device cameras to trigger the corresponding digital content. This content included 3D models, animations, sound effects, and instructional videos related to the selected traditional toy.
During the implementation phase, students used their own Android smartphones to access the application. Prior to the museum visit, students were provided with a secure download link and installation instructions. To ensure equal access, a small number of devices were made available by the research team for those who did not own smartphones. The application was designed to function offline after installation, thereby eliminating the need for internet connectivity within the museum space. To maintain the quiet and contemplative nature of the museum environment, students were encouraged to use earphones, and subtitles were provided as an alternative to audio playback. The app was tested extensively prior to implementation, and no significant technical issues were encountered during its use. The interface was optimized for children aged 10–12, ensuring usability and engagement through intuitive design and interactive features.
Museum education programme with traditional toys
To evaluate the Toy Box AR application, the Ankara Toy Museum implemented an educational program structured around three sequential phases: pre-visit, on-site, and post-visit activities. In the initial phase, students accessed the museum’s website prior to their visit to gain preliminary information and completed an evaluation form to assess their prior knowledge and expectations. The museum visit itself lasted approximately 120 min and began with a series of introductory and warm-up activities. After meeting the museum educators, students participated in an icebreaker game designed to help them become familiar with the names of traditional toys. Following this, puzzle cards depicting the toys featured in both the museum and the mobile application were distributed. The students were tasked with assembling and matching these puzzle pieces, fostering early engagement with the toy collection (see Fig. 6). A guided tour was then conducted through the museum galleries, during which participants were introduced to the selected traditional toys. As part of the visit, students also received issue cards designed for a scavenger hunt activity. These cards, containing both informational and game-based questions, aimed to promote deeper interaction with the toy exhibits.
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Fig. 6
Activities from the museum education activity.
Upon completing the questions on their issue cards, participants were introduced to the Toy Box AR mobile application. The children were divided into small groups and tasked with locating the traditional toys featured on their cards within the app. Using the application, they explored the historical background, materials, construction techniques, and production processes of each toy. The app’s interactive features enabled students to engage in activities such as spinning top and knucklebone games, view educational videos, and take part in a hands-on task where they created traditional dolls using wooden spoons.
The AR experience was carried out during the on-site phase of the museum education program. After a guided tour and interactive activities in the museum galleries, students were introduced to the Toy Box AR application. They worked in small groups to explore the app’s features and complete learning tasks. Participants primarily used their own Android smartphones to interact with the application. Before the museum visit, they received a secure download link and instructions on how to install the app. For students without personal devices, the project team provided a limited number of backup smartphones to ensure full participation and equity of access. The experience lasted approximately 30–40 minutes and took place under the supervision of museum educators.
The application was tested extensively before its implementation and was optimized to run offline, eliminating the need for internet access during the museum visit. As a result, no major technical issues were reported during the actual use. Regarding sound, special consideration was given to the museum’s quiet atmosphere. The app included optional audio features, which could be muted at any time, and most content was accompanied by subtitles. Students were also encouraged to bring and use earphones, ensuring that their engagement with the app did not disrupt the museum environment or other visitors. In addition to that, Ankara Toy Museum is frequently visited especially by school groups. In the activities carried out with school groups, the sound spreading in the museum area does not conflict with the policy of accessibility and inclusion followed by the museum. For this reason, the sound generated during the activities does not cause a problem in the museum. Since the groups worked in sections far away from each other while using the application, it did not cause any interruption.
Findings and comments
Findings and comments regarding the pre-museum education
The forms applied during the research process were analysed by the researchers using the themes and coding. In order to convey the results of the research more clearly, the information obtained from the participants’ forms is given in the form of quotations in this paper. For reporting qualitative data, participant statements are referenced using anonymous identification codes (e.g., P1, P26, P48), where “P” stands for “Participant.”
The Pre-Museum Education Information Form was designed as an interview tool for children aged 10–12 to assess their prior knowledge and awareness of museums and museum-based learning before their visit to the Toy Museum. The form also aimed to capture participants’ expectations regarding the upcoming educational experience. With guidance from museum educators, the children completed the forms during the pre-visit phase. The form included four key questions intended to evaluate their initial understanding and anticipation: (1) How do you define a museum? (2) What is your understanding of museum education? (3) What is your opinion on educational activities in museums? (4) Have you previously participated in a museum education program? If so, please briefly describe your experience. An additional question asked: (5) What are your expectations for today’s museum activity?
As illustrated in Fig. 7, 84.75% of the participants described a museum as a place where historical artifacts, scientific objects, and works of art are exhibited, preserved, and accompanied by informative content. One participant noted, “A museum is a place where different artefacts and inventions are found. A museum is an information box” (P26). These responses indicate a strong understanding of the core functions of museums. In addition, several students emphasized museums’ roles in preserving materials, promoting cultural enrichment, and delivering educational services. A smaller portion of participants (6.78%) associated museums primarily with natural history, citing fossils or animal remains—suggesting that their prior experiences may have been limited to archaeology or art-focused institutions. As one student stated, “A museum is a place that researches and exhibits how historical artefacts and works from the past have changed and come to the present day” (P13).
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Fig. 7
An illustration of the participants’ answers to “What is a museum?”.
According to 57.6% of the participants, museum education entails the presentation and explanation of historical artifacts, scientific objects, and artworks, accompanied by various interactive activities. Most students emphasized that these activities typically revolve around historical objects and are structured across three main stages: pre-visit, on-site, and post-visit. One student explained, “Museum education is a process that consists of pre-museum, museum, and post-museum research. Then, an activity is conducted in the museum, and finally, another activity is done to help us better understand the topic we will see in the museum” (P48). In addition, 28.8% of respondents viewed museum education primarily as a history-oriented learning experience. A smaller portion (6.77%) stated that they had no prior knowledge or understanding of what museum education entails (see Fig. 8). As one student described, “It is an education consisting of pre-museum and post-museum stages. Before the museum, we learn about the museum or place we will visit and research the category it is related to. After the museum, games and competitions are organized about what we have learned” (P9).
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Fig. 8
An illustration of the participants’ answers to “What is a museum education?”.
As shown in Fig. 9, 88.1% of the participants reported having previously taken part in a museum education activity. All of these students described a structured educational process that was organized in collaboration with their teachers. One student shared, “Before going to the museum, our teacher informed us. Then, the museum staff provided information about the artefacts and had us do an activity. We made bag prints with motifs used in the past and drew pictures related to the artefacts we saw in the museum” (P50). Most participants, residing in Ankara, indicated that they had visited institutions such as Ankara Castle, the MTA Natural History Museum, the Art Museum, the Ethnography Museum, the Biodiversity Museum, and the Museum of Anatolian Civilizations. Meanwhile, 11.86% stated that they had never participated in a museum education activity. As one participant noted, “We learned about the museum using technological tools and books beforehand. Then we completed the activities given by the teacher to complete the education” (P14).
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Fig. 9
An illustration of the participants’ answers if they have participated in a museum education before.
As illustrated in Fig. 10, 50.84% of the students expressed a desire to see and learn about traditional toys during the museum activity. Additionally, 25.4% hoped to play games, while 23.72% were interested in learning about history. One student asked, “I wonder what the first toy museum is and who invented it. I am curious about the history of toys. What were children’s toys in ancient times? How were they obtained? What are the preferred toys in Turkey and other countries?” (P53). Another student added, “I expect the AR application in our museum activity to be similar to the one in Artstep. I am very excited to see the old toys in the Toy Museum” (P36).
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Fig. 10
An illustration of participants’ expectations before the museum activity.
Findings and discussion regarding the post-museum education activity
The Post-Museum Education Information Form was designed as an interview tool to evaluate participants’ knowledge and awareness of museums and museum education following their visit to the Toy Museum and engagement in the associated educational activities. The aim of the form was to collect insights into what students had learned during the program. With the support of museum educators, the children completed the form at the end of the museum visit. It consisted of three central questions: (1) What are your reflections on this activity? (2) What knowledge did you acquire through this activity? (3) What did you learn about traditional toys?
As shown in Fig. 11, 61% of the participants described the museum activity as both enjoyable and educational. One student remarked, “This activity was really fun. I liked the application they installed on the phone. It was very fun and educational. This museum has become one of my favorite museums in my life” (P26). Many participants stated that, unlike traditional classroom environments, they did not feel bored and were able to learn while having fun. Another participant shared, “I loved it, I’m glad I came here. I learned a lot about toys” (P2).
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Fig. 11
An illustration of the participants’ thoughts about the activity.
Additionally, 18.64% of the students noted that the activity helped them understand appropriate behavior within a museum setting. Meanwhile, 20.33% reported that they gained insight into how traditional toys are made and played with, all while enjoying the learning experience. As one participant reflected, “I had a lot of fun. I loved the activity and the people at the museum played games. I learned how the toys are made and how they are played” (P7). Another added, “I met old toys and learned how to play them. It was interesting to learn the names of old toys and how they are played” (P46).
As depicted in Figs. 12 and 13, 62.71% of participants stated that they learned about the defining features of traditional toys through the museum education program, while 20.33% reported gaining knowledge about how these toys were made. One student commented, “I learned how old toys are played. I learned how to make a doll from a spoon. I learned so much that my brain grew” (P9). Another shared, “I learned how children used to play with toys and what materials they made toys from in the past. I saw toys like the Ratchet Toy, Peg Top, and Knucklebones” (P59). In addition, 10.2% of students indicated that they learned about toy museums in general, and 6.78% mentioned acquiring knowledge related to the use of technology within the museum environment.
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Fig. 12
An illustration of the participants’ self reflection on their learning process during the activity.
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Fig. 13
An illustration of what participants learn in the Toy Box AR Activity.
As shown in Fig. 14, 67.8% of participants reported that they learned about the materials, historical background, and functions of traditional toys, as well as how these toys were made. Additionally, 16.9% stated that they gained an understanding of how traditional toys are played, while 15.25% emphasized that they had learned people in the past often crafted their own toys using simple, everyday materials. One student reflected, “I heard and learned about traditional toys like Knucklebones, Whistling Pitcher, Peg Top, Ratchet Toy, etc., for the first time” (P7). Another noted, “People used household waste when making traditional toys. I liked that idea” (P20).
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Fig. 14
An illustration of the participants’ self reflection on their learning about traditional toys.
Findings and comments regarding the evaluation form about the Toy Box AR mobile app
The Toy Box AR mobile application was implemented during the final stage of the museum education program on traditional toys. To assess its effectiveness, a specially designed evaluation form was developed. This instrument aimed to measure children’s knowledge and awareness of traditional toys following their museum visit and participation in the educational activities. It also sought to gather insights into their learning experiences with the Toy Box AR application. The form was completed by the participants under the guidance of museum educators at the end of the program. It included three open-ended questions: (1) What did you learn about traditional toys in this activity? (2) What did you learn during the Toy Box AR activity? (3) What additional features would you like to see in the Toy Box AR mobile application?
As shown in Fig. 15, 35.59% of participants stated that they learned how to play with traditional toys through the augmented reality component of the museum education activity. In addition, 33.9% described the Toy Box AR application as both informative and educational. A further 19.95% noted that the application allowed them to interact with toys they had never previously encountered. One student shared, “In this app, we can try and watch how most traditional toys are played. That’s why I think it’s very fun and educational” (P44). Another added, “The best part of this application is that it can be played offline. After downloading it from the internet, we don’t have to connect to the internet” (P7).
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Fig. 15
An illustration of participants’ thoughts about the toys in the Toy Box AR App.
As illustrated in Fig. 16, 50.8% of the participants suggested that the Toy Box AR application should be enhanced with additional features, including more authentic toy sounds, representations of the toys in their original historical contexts, and comparisons with their modern counterparts. Meanwhile, 25.4% of the students recommended technical improvements to optimize the application’s overall functionality. One participant proposed, “All toys should have 3D features. We can examine all of them” (P13). Additionally, 16.9% expressed a desire for the inclusion of videos showing how the toys are crafted by artisans, while 6.77% emphasized the need for compatibility updates for different phone models. Among their suggestions were: “It could show what traditional toys are and where they are found on a map. 3D versions of all toys could be added” (P39), and “When the spinning top and knucklebone are thrown straight, they don’t go straight—I want this to be fixed. The sound of the mallet should also be added to the oxcart with mallet” (P16).
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Fig. 16
An illustration of participants’ future suggestions for Toy Box AR Mobile Software.
Discussion and results
Innovative technology-driven participation and engagement models are being developed in the museum and heritage sphere, offering new opportunities for interaction, interpretation, and inclusion. The Toy Box AR application represents one such approach, leveraging augmented reality to support learner-centered engagement and enhance access to cultural content.
The widespread adoption of mobile technologies, including smartphones and tablets, has paved the way for the integration of augmented reality (AR) into museum education. Parallel advancements in computer technologies have supported the growth of virtual reality (VR), while decentralized platforms such as blockchain have contributed to the emergence of the metaverse. These innovations offer museums powerful tools to design engaging, immersive learning experiences that are interactive, multisensory, and accessible across time and space (Turan and Keser 2014; Wei and Jianping, 2015). By enabling visitors to explore high-cost or physically inaccessible scenarios in a safe and stimulating environment, these technologies promote lasting learning and strengthen the educational role of museums. Furthermore, they appeal to diverse audiences by supporting active participation and the transmission of cultural heritage through tangible and experiential learning.
In recent years, mobile-based learning in museums has gained substantial attention. Numerous institutions have developed mobile guide applications tailored to enhance visitor engagement. Cesario and Nisi (2022), for instance, formulated design principles for mobile museum guides aimed at teenagers, emphasizing co-creation with young users. While mobile devices have long been employed to enrich museum visits (Cahill et al., 2011; Fleck et al., 2002; Marty et al., 2013, Sánchez et al., 2011), the notion that entertainment and gaming can meaningfully contribute to learning in museums remains a topic of academic debate (Katifori et al., 2014; Nilsson et al., 2016; Xhembulla et al., 2014; Cesario and Nisi, 2022). In line with Cesario and Nisi (2022), who emphasize co-creation with young users, our findings indicated that students also took ownership of the Toy Box AR experience by suggesting new features and expressing preferences for interaction, which reflects a participatory engagement approach.
Masduki et al. (2021) emphasized that mobile AR applications can also serve a practical role in addressing museum staff shortages and language barriers, particularly during peak visitation periods, by guiding and entertaining visitors independently of staff availability. Mobile museum applications have become valuable indicators of learning in museum contexts. Delen and Krajcik (2017) highlight the increasing use of mobile devices as effective tools for science education, noting that mobile technologies support data collection during museum field trips and allow teachers to extend the museum experience into the classroom through follow-up activities. Similarly, Nilsson et al. (2016) developed location-based, Bluetooth Low Energy (BLE)-enabled experiences for public cultural spaces such as museums, asserting that mobile location-based games enhance accessibility and engagement. Qian et al. (2021) emphasized the importance of interactivity in museum education and the role of emerging digital communication technologies. Their study employed Mobile Augmented Reality (MAR) to design museum education content guided by the principle of abstraction hierarchy derived from educational optimization theory. The findings demonstrated that interactive digital content significantly improves visitors’ comprehension, critical thinking, and engagement with cultural narratives presented in museum exhibits. Consistent with this, this study’s findings revealed that students expressed high levels of enjoyment and reported that the app enabled them to understand the features, materials, and cultural background of traditional toys. This supports the findings related to Research Question 2, which examined students’ perceptions of the Toy Box AR’s educational value.
Van Dijk et al. (2014) found that mobile applications contribute positively to the development of historical thinking by facilitating interactive and meaningful engagement with content. In our study, students demonstrated enhanced interest and critical engagement with the historical context of traditional toys, particularly through the Toy Box AR app. By interacting with 3D representations and historical descriptions, they were able to reflect on how children in the past created and played with toys. This directly addresses Research Question 1, showing how mobile AR applications support meaningful learning in cultural heritage contexts.
Innovative, technology-driven models of participation and engagement are increasingly being developed within the museum and cultural heritage sector. Cesário and Pedro (2024) introduced the Integrated Museum Engagement Model (IMEM), a comprehensive framework that seamlessly integrates participatory design, immersive storytelling, and digital representation. IMEM serves as a valuable guide for creating inclusive and engaging museum experiences that resonate with diverse audiences. Similarly, Iskandarova et al. (2019) conducted a study aimed at enhancing children’s learning and development through a mobile application, implemented with children who visited the museum between 2016 and 2018. The application functioned as both a preparatory tool and a post-visit review, allowing children to engage in related games that supported skill development without diminishing the excitement of the museum visit itself. The researchers also explored strategies to encourage the use of the mobile app by museum visitors. The app’s intuitive interface and user-friendly navigation, combined with the museum experience, motivated children of varying ability levels to explore learning through digital technologies. Notably, the app also attracted the interest of parents whose children were unable to physically visit the museum due to accessibility or other constraints.
Similarly, our study indicated that students were able to explore toys autonomously using the mobile app. Many children noted that the ability to use the app without requiring adult supervision made the learning experience feel more independent and engaging. The ability to engage without direct teacher or guide intervention shows the potential of AR to facilitate autonomous learning in informal education contexts (Benito, 2013; Basham, 2019). This finding contributes to Research Question 3, highlighting the app’s capacity to foster independent, creative exploration.
Despite the increasing global interest in AR-based museum learning, such practices are still limited in Türkiye. By contextualizing Toy Box AR within the national curriculum and museum setting, this study addresses a significant gap in local educational technology research. Responding to this need, the Toy Box AR mobile application was developed to investigate the potential of augmented reality (AR) technology in supporting and enhancing museum education. An AR-based educational program was designed using the collection of the Ankara Toy Museum, which is affiliated with Ankara University’s Center for Research on Child Culture (CRCC). The program was implemented with 60 children aged 10–12 as part of the 4th-grade Social Studies curriculum, specifically within the “Culture and Heritage” unit.
The Toy Box AR mobile application was integrated into the final phase of the museum education program centered on traditional toys. To evaluate its impact, an AR Mobile App Evaluation Form was employed as an interview tool to assess children’s knowledge and awareness of traditional toys following their participation in the program, as well as to gather insights into their learning experience with the application. Upon completion of the museum activity, the form was administered with the support of museum educators. It consisted of three open-ended questions: what the participants learned about traditional toys, what they gained from using the Toy Box AR, and which additional features they would suggest for future versions of the app. Participants reported that they learned how to interact with traditional toys and described the application as both beneficial and enjoyable. They emphasized that the app enabled them to engage with toys that were otherwise physically inaccessible or displayed behind glass cases, offering a virtual environment through which they could explore and experience the objects more interactively. This finding supports the role of mobile AR in making museum content more accessible, particularly for children who might face barriers in interacting with physical objects (Masduki et al., 2021; Qian et al., 2021). This corresponds with broader efforts to increase accessibility in museum environments through digital means, as emphasized in recent systematic reviews (Chiarello and Bursi, 2023; González-Herrera, 2023).
As suggested by Katifori et al. (2014), game-based features in mobile applications can deepen engagement. Our study also confirms this, as students described the Toy Box AR experience as fun, interactive, and more effective than traditional classroom learning. This finding is in line with recent research showing that gamified museum experiences can significantly increase visitor engagement and motivation, especially when learning goals are embedded in playful interactions (Hong, 2022; Xu et al., 2024).
The fact that a considerable number of participants described the application as highly enjoyable suggests that the Ankara Toy Museum successfully achieved its mission of promoting learning through engaging and enjoyable experiences. Students reported acquiring knowledge about the names of traditional toys, the materials used in their construction, and the ways in which they are played. Notably, several participants mentioned that the app’s instructional videos taught them how to create their own toys—such as crafting a walnut spinner or making a doll from a wooden spoon. In light of the role of toy museums in promoting sustainability (Artar et al., 2021), it is particularly noteworthy that the application contributed to raising children’s and young people’s awareness of the sustainable aspects of traditional cultural heritage. Similar to other studies using AR to raise awareness of abstract cultural or religious concepts, this research demonstrates how digital tools can facilitate deeper engagement with heritage and identity from a young age (Li et al., 2023).
In their feedback, participants also expressed a desire for more auditory features, suggesting that the app should include additional toy sounds and representations of toys in both their historical and contemporary forms. Moreover, they emphasized the value of including content that explains how traditional toys are crafted by artisans. Several participants also recommended technical improvements and updates to enhance the app’s functionality and performance. This aligns with constructivist learning approaches, where students create meaning through hands-on experiences (Hein, 2006) and supports the idea that creative engagement in cultural contexts fosters sustainable heritage appreciation (Cesário and Pedro, 2024).
Toy Box AR represents an innovative and valuable tool that enhances visitor engagement by increasing the visibility and accessibility of traditional toys within the Ankara Toy Museum’s collection. The application enables visitors to independently access rich informational content during their museum experience, allowing for self-guided exploration without the need for a physical guide. In this context, the decision to use augmented reality (AR) was based on its unique ability to enhance student interaction with museum objects that are fragile or inaccessible. AR enabled touch-free, yet immersive engagement with toys, allowing students to “play with” and explore them in detail without compromising artifact preservation. Compared to traditional media formats such as videos or static images, AR provided a multisensory and spatially integrated experience. It supported situated learning by directly connecting digital content to the physical context of the museum, fostering deeper conceptual understanding. Furthermore, the AR activities aligned with curriculum goals by encouraging curiosity, creativity, and independent exploration—offering added value beyond what physical replicas or standard multimedia tools could provide. This approach aligns with current perspectives that see AR technologies as transformative tools for rethinking traditional exhibition strategies and deepening interpretive engagement (Furferi et al., 2024).
While playing with real toys or interacting with replicas in a museum setting can provide valuable tactile experiences, such opportunities are often limited by preservation requirements, logistical constraints, and collection policies. Many of the toys in the Ankara Toy Museum are historical or fragile and, therefore, are not available for hands-on use. Even replicas, when available, offer limited interpretive depth and are used under controlled conditions. It is important to note that the Ankara Toy Museum regularly organizes monthly hands-on workshops, where children and visitors can physically engage with selected toys as part of its educational programming. These “How is it played?”-themed activities offer valuable opportunities for tactile learning and embodied play experiences. However, such workshops are conducted with small group sizes and curated toy sets, and therefore cannot be integrated into the daily museum experience for larger school groups.
In this context, the AR application provided an interactive, informative, and multisensory alternative that required no physical contact. Students were able to explore the toys’ internal mechanisms, learn about their historical and cultural context, and simulate their functionality—experiences that are difficult to achieve through physical interaction alone.
The AR activity addressed a key challenge in museum education: how to balance object preservation with visitor participation. By enabling rich interaction with digitally enhanced content overlaid on physical exhibits, AR allowed learners to “play with” the toys in a conceptual, reflective, and non-destructive manner. This approach provided greater educational depth, supported individualized exploration, and helped overcome the physical limitations of traditional museum engagement strategies. In addition to its on-site implementation, the Toy Box AR application demonstrated potential for use beyond the museum environment. Several parents expressed interest in the mobile app as a way to engage with the museum content at home, especially for children who could not attend in person due to physical, geographical, or personal limitations. This suggests that AR-based applications can play an important role in extending museum access and participation, allowing families to interact with cultural heritage content in familiar settings. The ability to use the application outside the museum also supports inclusive educational practices by enabling remote engagement and continuity of learning. Future iterations of the project could further explore structured at-home use scenarios, such as pre-visit preparation or post-visit reflection, thus integrating museum learning into broader family life and informal education contexts.
Additionally, it serves as a practical resource for educators, facilitating the integration of museum-based learning into classroom activities. The educational function of the Toy Box AR application stands out in comparison to its entertainment and promotional aspects. This reflects broader findings in the literature, such as Benito (2013), who emphasizes the educational potential of digital museum tools over purely promotional uses. Its content and design are structured for seamless integration into digital platforms while maintaining a strong connection to cultural heritage themes. Furthermore, the app functions as an accessible and informative resource—particularly valuable to collectors—ensuring that its educational contributions extend well beyond mere entertainment or marketing purposes.
The content and structure of Toy Box AR are intentionally designed to enable seamless integration into digital platforms while maintaining a strong connection to cultural and heritage-based narratives. In addition to its educational functionality, the application offers a well-structured and accessible body of information that is particularly useful for collectors and researchers, thereby extending its value beyond entertainment or promotional purposes.
In this context, the integration of AR, VR, and metaverse technologies presents new possibilities for museum engagement, allowing visitors to virtually explore international museum collections, interact with exhibits, and acquire knowledge unbound by spatial or temporal constraints. These technologies support more flexible, immersive, and globally accessible learning experiences, thereby expanding the educational reach of museums. For toy museums in particular, collaboration becomes essential in promoting shared knowledge related to historically significant toys, their production processes, and their role in both tangible and intangible cultural heritage. The adoption of immersive technologies such as AR and VR can also contribute to the democratization of access, enabling underrepresented groups—including students in disadvantaged regions, individuals with disabilities, and communities with limited access to cultural institutions—to meaningfully participate in museum education. These tools help overcome geographical, physical, and social barriers, fostering greater inclusivity and engagement in cultural learning. Overall, this study illustrates how mobile AR applications, when carefully designed and curriculum-aligned, can serve as powerful tools for participatory, inclusive, and sustainable museum education.
Acknowledgements
This study is part of a project funded by the Scientific Research Projects Coordination Unit of Ankara University (BAP), titled “Toy Box AR: Museum Education with Augmented Reality Experience at the Ankara Toy Museum” (Project ID: SBA-2023-2870). The authors extend their sincere gratitude to the Scientific Research Projects Coordination Unit for its financial support. Special thanks are also due to the students and teachers who participated in the project, the staff of the Ankara Toy Museum for their invaluable assistance during implementation, and the team at Kreatin Studios for their contributions to the development of the mobile application. Prior to the implementation of the museum education activities, ethical approval for the data collection instruments was obtained from the Ethics Committee of Ankara University. Informed consent was subsequently collected from all participating students, teachers, and parents. The museum education program was conducted in accordance with ethical research standards and was successfully completed.
Author contributions
Ceren Güneröz: Conceptualized the study and led the development of the Toy Box AR mobile application. Contributed to the research design, data analysis, and drafting of the manuscript. Coordinated the implementation of the museum education program at the Ankara Toy Museum. Ayşem Yanar: Conducted the literature review and assisted in developing the theoretical framework for the study. Played a significant role in organizing and interpreting the educational activities with participants. Contributed to the preparation of the manuscript, particularly in methodology and discussion sections. Emel Aksan: Managed data collection, including pre- and post-visit surveys and AR application evaluations. Performed statistical analysis and contributed to the findings and results sections of the manuscript. Assisted in editing and finalizing the manuscript.
Data availability
The data that support the findings of this study are available from the corresponding author upon reasonable request. Due to ethical restrictions regarding child participants, the full dataset is not publicly available.
Competing interests
The authors declare no competing interests.
Ethical approval
Ethical approval for this study was obtained from the Ethics Committee of Ankara University (Ankara, Türkiye). The research was reviewed and approved as Non-Clinical Research Conducted on Humans during the committee meeting held on February 6, 2023 (Decision No. 9, Meeting No. 3). All procedures performed in this study involving human participants were conducted in accordance with the Declaration of Helsinki, institutional ethical standards, and relevant national regulations. The approval covered all phases of the study, including data collection through pre- and post-visit evaluation forms, interviews, and participant consent procedures.
Informed consent
Written informed consent was obtained from all participants involved in this study, including students, teachers, and parents. Consent forms were specifically designed for this project and approved by the same ethics committee prior to data collection. Participation was entirely voluntary, and participants were informed about the study’s purpose, process, and their right to withdraw at any time without consequence. Written informed consent was obtained from all participating children and their parents/guardians prior to each data collection session, between 27 May 2024 and 29 May 2024.
Publisher’s note Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
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