This article was downloaded by: [Queensland University of Technology]On: 21 November 2014, At: 08:36Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK

Early Child Development and CarePublication details, including instructions for authors andsubscription information:http://www.tandfonline.com/loi/gecd20

Enhancing creativity in youngchildren: Strategies for teachersGeorgianna Cornelius a & Jacqueline Casler aa Department of Curriculum & Instruction , New MexicoState College , Las Cruces, NM 88001, USAPublished online: 09 Jul 2006.

To cite this article: Georgianna Cornelius & Jacqueline Casler (1991) Enhancing creativity inyoung children: Strategies for teachers, Early Child Development and Care, 72:1, 99-106

To link to this article: http://dx.doi.org/10.1080/0300443910720109

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all the information(the “Content”) contained in the publications on our platform. However, Taylor& Francis, our agents, and our licensors make no representations or warrantieswhatsoever as to the accuracy, completeness, or suitability for any purposeof the Content. Any opinions and views expressed in this publication are theopinions and views of the authors, and are not the views of or endorsed by Taylor& Francis. The accuracy of the Content should not be relied upon and should beindependently verified with primary sources of information. Taylor and Francisshall not be liable for any losses, actions, claims, proceedings, demands, costs,expenses, damages, and other liabilities whatsoever or howsoever caused arisingdirectly or indirectly in connection with, in relation to or arising out of the use ofthe Content.

This article may be used for research, teaching, and private study purposes.Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expresslyforbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions

Early Child Development and Care, Vol. 72, pp. 99-106 ©1991 Gordon and Breach Science Publishers S.A.Reprints available directly from the publisher Printed in the United KingdomPhotocopying permitted by license only

Enhancing creativity in young children:Strategies for teachers

GEORGIANNA CORNELIUS and JACQUELINE CASLER

New Mexico State College, Department of Curriculum &Instruction, Las Cruces, NM 88001, USA

INTRODUCTION

Creativity is a basic human ability that is "crucial to the individuals" effort tomaintain balance in a constantly shifting environment" (Dorman & Edidin, 1989).This ability to adapt to change may be the very essence of human survival accordingto the thinking of many knowledgeable specialists on the subject of human creativeexpression.

Creativity is generally considered humans' capacity for innovating or discoveringnew ways of doing things. It often involves new ways of seeing old problems orbecoming aware of new problems. Furthermore, creativity is assumed to involve asomewhat different intellectual process than simple intelligent functioning.

Many researchers (Lubeck & Bidell, 1989; Burns, 1989; Dacey, 1989) have arguedthat creativity can be integrated within Piaget's general framework. For example,where cognition and the creative process would not be considered two domains withseparate sets of principles and phenomena. In fact, the spontaneous everydayexperiences of thinking and knowing such as practical problem solving thoughts maybe regarded as a creative process for it involves constructing new ideas. This view ofcreative processes is significant from the perspective of the growing awareness amongpsychologists of the need to understand cognition in context. Too frequently,creativity has been defined only in terms of the gifted or in terms of the work ofrespected scientists and artists.

For others (Dacey, 1989; Lesner & Hillman, 1983; Bakes, etd., 1980) peak periodsof the creative growth across the lifespan have been examined. Dacey (1989) proposesthat period one (0 to 5 years) is one of these peak periods. He goes on further to arguethat in fact the first year and a half of life is the most crucial due to the amount ofdevelopment during that time with regards to the microneuron growth in the brain.According to his work, the microneuron has more significant ramifications in creativedevelopment than any other physical factor. Two aspects of mental functioning areidentified as crucial and affected by the environment: the ability to take ininformation and the ability to process it.

99

E.C.D - E

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014

100 G. CORNELIUS AND J. CASLER

Creative activity involves the mental and physical processes of (1) remembering,(2) organizing, (3) imagining, (4) expressing, and (5) evaluating. Roe (1963)proposed that the creative process is not unique to a few individuals possessing alimited number of specific capacities. Roe finds that, "creativity appears to be one ofthe ways in which humans interact with their environment". It is this earlyenvironment for individuals that provide the critical social interaction with objectsand people. Other researchers clearly point to the importance of the early years ofdevelopment and that creative characteristics are evident from the earliest years:

1. A sense of wonder and heightened awareness of the world2. Openness to inner feelings and emotions3. Curious, exploratory, adventuresome spirit4. Imagination, the power of forming mental images of what is not actually present

to the senses or of creating new images by combining previously unrelated ideas.

Many developmental theorists point to the ages of 4-7 as a highly creative time oflife. Jean Piaget (1962) tells us the preoperational stage is characterized by intuitivethought.. It is during this stage that children engage in decentering, developtransductive reasoning and learn to associate and reverse events. Children arecognitively learning to symbolically represent events, and people. For example,children will create barbershop or icecream parlors of the future and assume the rolesof astronauts.

Similarly, Erikson's (Erikson, 1954) stage of initiative versus guilt has to do withthe young child's desire to plan and carry out their own self initiated activities. Theydevelop the ability to plan, organize, store, retrieve, and reorganize events conti-nuously through their play. They create and recreate events, and activities during thisstage.

Supporting the same idea, Lowenfeld (1980, & Brittain 1975) in his theory ofcreative growth, stresses the young child's desire to freely explore materials anddiscover their physical properties. For example, the physical movements of a two yearold fingerpainting typify exploratory behavior. The child is concerned with texture,motion and the physical properties of the paint, rather than the product. Youngchildren are frequently expressing their creative ideas through play and the arts.Interestingly, they like most adults, even evaluate it.

Early Development and Creativity

The ability to imagine has its roots in the capacity for sensory experience which is afundamental human characteristic. Infants sense with their whole bodies. They areopen to all feelings. An infant's sensory/physical expeience is not separate or distinctfrom his or her thinking. The normal developing infant of six to eight months beginsto develop the ability to produce in his/her own mind a specific response to aparticular stimulation that occurred in the past. The original object no longer has tobe present for this initiation and recreation to exist for the infant. Such are thebeginnings of pretense and typical pretend play of young toddlers. For example,

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014

CREATIVITY IN YOUNG CHILDREN 101

toddlers are frequently chanters of the language. They imitate, transform and playwith words through songs and fingerplays. Evidence of this pretend play can be seenwhen children talk into telephones that don't exist, or fly around on invisible brooms.

Very young children exhibit these abilities most naturally through their pretendplay. For example, as teachers we frequently observe children reenacting social rolesof mother, father, baby, and pet. We joyfully watch them organize the game byassigning roles, behaviors, and events. The domestic play scene changes when eachplayer pretends and imagines a dinner or party. The child may elaborately play outtheir role, carefully choose their dialogue and dress in their efforts to evaluate. Such aplay frame can be observed in a variety of contexts.

During the later part of the third year, children are repeatedly organizing andreproducing their knowledge of the world through concrete pretend play.

On an abstract level, children are taking giant cognitive leaps by representingobjects, people, and events in a pretend fashion. They create imaginary friends,conduct pretend tea parties, have the power to grow, shrink and disappear at will.During this time and until the 8th or 9th year of life, the license to engage in theseactivities is crucial to the child's self esteem. It is very important for the child tounderstand that it is alright to imagine, to pretend, to fly around or to have imaginaryfriends. It is clearly necessary for the child to feel secure in his or her creativeexpression, and to feel comfortable in being different.

Value of Concrete Experiences

The ability to produce mental images is a basic human function. Seeing pictures inthe mind is a visual experience, but other senses are involved in producing imagery.Young children have the capacity to mentally reproduce : (1) sights, (2) sounds, (3)smells, (4) tastes, and (5) touch. For example, onomatopoeia is quite common withchildren in a block corner or kitchen area of a preschool classroom. Children arefrequently making the noises of car engines, screeching brakes, dishwashers,telephones, and blenders. They act out dinner scenes complete with dramatic claimsof how wonderful the food smells, and how hot the pan is as they lift their plastic toysoff the toy range. To enjoy the benefits of imagery, children must be allowed to use alltheir senses fully. All of this playful activity is crucial in the development and growthof creativity.

For children to be able to use their senses fully, they must be given opportunities toassimilate information through direct experiences. Children need opportunities tomanipulate, transform, create, and repeat their play themes. Children must haveconcrete opportunities to cook, play mommy or daddy, and manipulate kitchen ware.In order to build a conceptual understanding of their world, children need multipleand repeated visits with materials, events, and people. This concrete, active interactionwith the world is what builds the conceptual foundation of the child's mind. Forchildren to understand the abstract qualities of our world, they must have contactthrough their senses and the opportunities to master their environment.

It seems clear that all children possess that powerful catalytic agent calledimagination but unfortunately the pressure in society and schools rewards conformity

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014

102 G. CORNELIUS AND J. CASLER

rather than any divergence in ideas and behaviors. Teachers need to clearly showchildren that they value and respect creativity for it to prosper. Frequently, in theeducational setting, individuals who refuse to give up their creative, imaginativeresponse to the world are often labeled negatively. Unfortunately, with the pressure toconform and be accepted, many children surrender their creativity at a very early age.

Early Educational Settings and Creativity

Many school experiences are not designed to promote a child's natural sense ofwonder or curious adventuresome spirit. Classrooms do not typically reward the childwho has a new or novel idea. The imagination is stimulated by questions thatencourage divergent thinking. There are multiple goals of early education (Eliason &Jenkins, 1981). Many programs are designed to help facilitate social and emotionalgrowth, whereas others have a strong problem solving and academic emphasis. Oneprimary goal of education should help children to develop their thinking orintellectual capacities. Children should be encouraged to use all forms of creativeintelligence as a means for achieving new ideas, new products, and new ways ofbehaving. Studies have consistently shown that the tyical classroom teacher asksfactual convergent questions more frequently than divergent ones. Similarly, inpreschool settings convergent questions are more frequently asked than divergentones.

Behaviors that are frequently associated with creative individuals such as day-dreaming and fantasizing are frowned upon by teachers. Children are typically labeledas "off task" and the creative behaviors are considered not conducive to the learningsituation. Primarily, teaching is still designed and geared to convergent modes ofbehavior.

For example, a typical presentation of information in a 1st grade class is through ateacher centered format of presentation, drill, and practice. If children are given timeto manipulate the information ask questions, draw pictures, tell each other stories, orengage in dramatic play, they will assimilate the information in a more meaningful,long lasting manner. They will feel an ownership of the knowledge, and thereby beable to store and retrieve the information in a more efficient and consistent manner.

Negative and positive attitudes towards children's expression, creativity, andpretend play have a powerful impact on the child's future behavior. If a teacher orparent disapproves of these creative activities, they will decrease in frequency andalter the child's acceptance of their own self and creativity. Since attitudes andbehaviors of adults significantly influence children, it is crucial that we examine thebehaviors that can help foster creativity. Educationally, it makes more sense to helpchildren create new ideas, play with innovations, and rehearse old methods ratherthan to rotely produce facts.

As educators, we need to foster and promote creativity. The technology of oursociety, and the cultural backbone of our civilization relies on the creative ideas, andthe novel solutions of those individuals who go beyond the facts to produce newsolutions to old and familiar problems. It is crucial for teachers to value the creative

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014

CREATIVITY IN YOUNG CHILDREN 103

individual for several reasons. Listed below are guidelines to help build the creativeenvironment.

1. The creative teacher needs to stand back and let the child explore andmanipulate a wide variety of materials, props and ideas. Be sure to organize and planfor a variety of choices. Give the child time and space to repeatedly explore with thematerials.2. The creative teacher provides for self initiated learning and activity on the part ofthe child. Give "think" time to the child so they can reflect and make choices that arefun and meaningful.3. The ability to respond to children's ideas and products with support rather thanpersonal evaluation. For example, find an interesting feature of the child's workrather than judging it.4. The ability to maintain an emotional climate in which the acceptance of theindividual is paramount. Some creative individuals may suffer rejection and isolationbecause they dare to be original. The teacher may help guard against rejection byrecognizing and supporting originality in thought and deed. This can be accom-plished through a great deal of modeling. Have the children verbalize and model aswell.5. The ability to maintain an open structure in a program that provides manyopportunities for children to think for themselves to make choices and decisionswithin reasonable limits.6. There should be a variety of novel opportunities or special classes.

Teachers are the silent engineers of every classroom. It is the classroom that carriesthe tremendous impact and power in the child's world. It is the physical design, thelighting, the air, the materials that encourage or discourage creative behavior inyoung children.

Learning environments for particularly young children are critically importantsince they impact on behavior. The physical environment needs to clearly accommo-date the clumsy unintegrated movements of the preschool child. Such an environmentmust encourage language, and offer activities on many cognitive levels. The earlylearning environment needs to be a safe, attractive warm room in which feelings arerespected. Such an environment is completely designed by the classroom teacher. Theenvironment is a mirror of the teacher's philosophy and respect for children.

For an environment to foster creativity, the teacher must make informed decisionsabout what constitutes a creative learning space for children.

1. Developmentally appropriate child centeredAge and interest appropriate activities are important considerations for a creativeenvironment. A classroom where the child is the focus if not the teacher.

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014

104 G. CORNELIUS AND J. CASLER

2. Adequate spaceChildren need adequate space to move around, and to implement projects. Such asspace needs to allow for size and number of children in the class. When designing thespace, carefully list the variety of activities that will take place in the class.

3. Lighting and airA variety of lighting is important for children. Overhead ceiling lights, lamps, andnight lights are useful. Be sure all are functioning, and that glare is decreased. A goodnumber of windows is critical to provide natural lighting as well as fresh air. The airshould be comfortable and fresh for the health factors of children. Drafty or hot aircreates excitable and irritable behaviors in young children. Conversely, fresh airstimulates productivity and calmness in the class.

4. Variety of options (closed versus open space)The environment needs to offer spaces where children can cluster in groups of 3 or 4children. Closed spaces are needed to provide privacy, as well as open spaces forrough and tumble play.

5. Fixtures (fixed versus semipermanent)The teacher needs to provide flexibility in the room by offering equipment andfixtures that can be moved around. Large and small rugs are a good example of howan environment can be transformed.

6. Variety of texturesTextures can easily create a climate of warmth. Wall hangings, rugs, and furniture,all can contribute to the softness of an environment. A variety of soft materials lendsitself to more appropriate behaviors, and a safe environment where children feelsecure in taking risks.

Materials

The selection of materials is also the decision of the teacher. The variety, durabilityand type can create an imaginative environment, or produce one of rigid and limitedchoices. The following criteria are important considerations for teachers in thedecision making process.

1. VarietyThe large variety of materials that are open ended need to be available. Play dough,paint, construction toys need to be made continually available.

2. DurabilityThe classroom materials need to be durable. They need to be designed for childrenwith safety as a priority. For example, rough edges and small parts need to beeliminated.

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014

CREATIVITY IN YOUNG CHILDREN 105

3. Variety of developmental levelsThe toys in the classroom need to offer a wide range of possibilities. Can a three yearold play with this and for how long? Are there materials for my 6 year old as well asmy two year old?

4. Raw materialsThe materials the teacher selects are crucial in facilitating or inhibiting creativebehavior. For example, raw materials include mud, dirt, ice, cotton, pecans, from thechild's environment.

5. Organized storageThe orderly quality of the environment helps build a foundation of familiarity for thechild. They soon learn where materials are located and how they are stored. Thisfamiliarity lends itself to more independent decision making and a secure feeling inthe child.

SUMMARY

Enhancing the creative potential of young children is an imperative objective of earlychildhood education. Developmentally and emotionally, this is the critical time tosignificantly affect the way children experience and express their creativity for the restof their lives. The teacher's role as the silent engineer of the physical, cognitive andaffective environment of the classroom is the most important factor in achieving thisobjective.

A fail-safe environment with carefully selected materials and activities that presenta stimulating array of choices for young children lies in the arena of teacher madedecisions. It is critical for children to have a supportive, flexible structure ofexpectations that will ensure the emergence of imaginative play. The early years ofdevelopment are the fundamental years for teachers to provide the optimumenvironment. A sense of wonder, and openness to inner feelings are not possiblewithout a supportive teacher who realizes the impact of her/his decisions. A curiousteacher who models, and offers opportunities for children is the creator of a powerfulcreative environment and creative children. Children who are willing to makechoices, take risks, and create new ideas and plans are children who develop withinthe growing safe classroom.

Very young children are in need of quality interaction with the environment andother significant adults in their world. Parents and teachers are the most influentialfactors in the children's realm of development. It is the attitudes and practices ofthose individuals which will have the most significant effect on the child developing ormaintaining their creative potential. Educators need to reflect and re-examine theircurrent practices in allowing for divergent thinking and creative expressions ofchildren. As teachers, the task of teaching is complex and requires thousands ofimportant decisions. The authors argue that the decisions made by the early

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014

106 G. CORNELIUS AND J. CASLER

educators have significant and long lasting effects and they are the keys for unlockingthe creative potential of children.

References

Burns, M. (1989). Music as a Tool for Creativity, Journal of Creative Behavior, 22, 1.Casler, J . (1980). Divergent Production Measures and Self-Concept Among Third, Fourth, and Fifth

Grade Students in Open and Traditional Classrooms. Unpublished doctoral dissertation, OklahomaState University.

Dacey, J . (1989). Peak Periods of Creative Growth Across the Life Span, Journal of Creative Behavior, 23, 4.Dorman, L. & Edidin, P. (1989), Original spin. Psychology Today, 46-52.Eliason & Jenkins. (1981). A Practical Guide to Early Childhood Curriculum. Columbus, OH: Merrill Publishing

Company.Erikson, E. (1950). Childhood and Society. New York: Norton.Lowenfeld, V. & Brittain, W.L. (1975). Creative and Mental Growth. 6th Ed. New York: MacMillan.Lubeck, S. & Bidell I. (1989). Creativity and Cognition: A Piagetian Framework. Journal of Creative

Behavior, 22.Maslow, A. (1965). Lessons from the peak experiences. In R.E. Farson (Ed.) Science and Human Affairs. Palo

Alto, CA: Science and Behavior Books.Maslow, A. (1968). Some educational implications of the humanistic psychologies. Harvard Educational

Review, 38, 685-696.Moustakas, C.E. (1967). Creativity and conformity in education. In R.L. Mooney and T.A. Kazik (Eds.)

Explorations in Creativity. New York: Harper and Row.Piaget, J . (1952). The Origins of Intelligence. New York: Norton.Pribam, K.N. (1963). The new neurology: memory, novelty, thought, and choice. In C.N. Glaser (Ed.)

EEG and Behavior. New York: Basic Books.Roe, A. (1963). Psychological approaches to creativity in science. In M.A. Coler and H.K. Hughes (Eds.)

Essays on Creativity in the Sciences, New York: New York University Press.Rogers, C.R. (1959). Toward a theory of creativity. In Anderson, H.H. (Ed.) Creativity and its Cultivation.

New York: Harper and Row.Torrance, E.P. & Horng, R. (1978). Scoring Guide: Future Problem Solving Program. Athens, Georgia: Georgia

Studies of Creative Behavior, University of Georgia.Wallach, M.A. & Kogan, C.N. (1972). Creativity and intelligence in children. In H. McV. Hunt (Ed.)

Human Intelligence. New Brunswick, N.J.: Transaction Books.Zuckerman, M. (1978). The Search for High Sensation, Psychology Today, Feb. 38-43.

Dow

nloa

ded

by [

Que

ensl

and

Uni

vers

ity o

f T

echn

olog

y] a

t 08:

36 2

1 N

ovem

ber

2014