Topic

Autumn 2004 / Issue 32

Readership: primary

Developing young childrens creativity: what

can we learn from research?
In this article, Caroline Sharp of the NFER considers evidence from research and theory as
it applies to developing young childrens creativity. She explains how creativity is defined,
and identifies the implications for staff working in early childhood settings. She also
identifies some common myths about developing young childrens creativity.

Introduction
In September 2000, the Arts Council of England
asked the NFER to summarise recent research and
theory on creativity in early childhood. The work
entailed a selective review of research and theory
published between 1988 and 2000 and resulted in a
briefing paper on the subject (1). This article sets out
to update the earlier paper and to identify some of
the principles involved in helping young children to
develop their creativity in early years settings.

How has creativity been interpreted in

educational policy?
Creativity has recently been granted official
recognition as one of the overarching aims of the
curriculum in English schools.
The curriculum should enable pupils to think
creatively and critically, to solve problems and to
make a difference for the better. It should give
them the opportunity to become creative,
innovative, enterprising and capable of leadership
to equip them for their future lives as workers and
citizens (2, p. 11).

These definitions have been welcomed as giving

recognition to the importance of creativity and the
role of education in encouraging creative
development. The appearance of creativity as an
aim of the curriculum in England is part of a trend
to recognise the importance of creativity
internationally (4). However, the above statements
also raise many questions, such as: what is meant
by the terms creative thinking, creative
development and being creative? How does
creativity relate to curriculum areas? And how
should early years staff help children to develop
their creative abilities?

Defining creativity
Definitions of creativity are not straightforward,
and many writers have contributed to the debate
about what constitutes creativity, often hotly
contesting different views. However, most theorists
agree that the creative process involves a number
of components, most commonly:

imagination

originality (the ability to come up with ideas and

products that are new and unusual)

The Foundation Stage curriculum is aimed at early

years settings, providing for children aged around
three to six years. The curriculum is divided into six
main areas of learning, one of which is creative
development. According to the curriculum guidance
for the Foundation Stage in 2000 (3, p.116):
Being creative enables children to make connections
between one area of learning and another and so extend
their understanding. This area includes art, music, dance,
role-play and imaginative play.

productivity (the ability to generate a variety of

different ideas through divergent thinking)

problem solving (application of knowledge and

imagination to a given situation)

the ability to produce an outcome of value and

worth.

Where definitions of creativity differ most strikingly

is the extent to which their proponents are
attempting to identify creativity as a generic human
characteristic, or to define what makes highly
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Developing young childrens creativity

creative people special and different from others.

This is the distinction between what the Robinson
Report (5) calls the democratic, as opposed to the
lite, definition of creativity. Howard Gardner (6),
adopts an lite definition of creativity when he
argues that truly creative people are those who make
a difference to the world (e.g. by moving forward
thinking in science, social science, music or art).
This type of Big C creativity is reserved for very few
individuals. The report (5) of the National Advisory
Committee for Creative and Cultural Education,
chaired by Professor Ken Robinson, adopted a
democratic view of creativity. It argued that this was
the most useful way of viewing creativity in relation
to education (5, para. 25)
All people are capable of creative achievement in
some area of activity, provided that the conditions
are right and they have acquired the relevant
knowledge and skills.
So is creativity another way of talking about
intelligence or talent? Most authorities agree that
creativity is different. Creativity has been shown
to be distinct from intelligence (children scoring
high on intelligence tests are not necessarily
highly creative). The concept of multiple
intelligences (6) suggests that people may have a
particular intelligence (or potential) in relation to
a given field of endeavour.
is creativity While this is a more inclusive
another way of concept than traditional IQ, it
is still essentially distinct from
talking about creativity, which may be
intelligence or considered to represent a more
talent? generic set of abilities,
applicable to a range of
domains. Talent usually refers to the possession of
a high degree of aptitude and skill in a given area
(such as music or mathematics), but would not
necessarily imply either a high degree of
originality or an ability to demonstrate creative
abilities outside the specific area.
Talk to most parents about their childrens
creativity and they will probably think you are
talking about artistic or musical talent. The
Robinson Report (5) argues that, while there are
strong links between the expressive arts and
creativity, viewing creativity as solely or mainly the
province of the arts is unhelpful because it can
lead to a denial of the role of creativity in other
areas, such as science and mathematics.
6

Creativity in young children

When considering young children, it is appropriate
to adopt a broad, democratic definition of
creativity. In this way, every child can be
considered to have creative potential and to be
capable of creative expression.
It is important to consider what might constitute
originality in the work of a young child. After all,
only a child prodigy could be expected to come up
with something new and valuable to society.
Instead, each childs creative abilities can be related
to his/her personal stage of development. For
example, a young childs work may be adaptive
and original for that particular child and/or in
relation to children in their class or age group (7).
Another suggestion for adapting the notion of
creativity to suit young children is to put the
emphasis on the creative process, rather than to
judge the quality of their products. This is
because young children may not have developed
all the skills they need to achieve a successful
creative outcome (8, 9). A similar point is made by
Malaguzzi (10), who says (p. 77):
Creativity becomes more visible when adults try to
be more attentive to the cognitive processes of
children than to the results they achieve in various
fields of doing and understanding.
This is an interesting comment coming from the
driving force behind the Reggio Emilia approach,
which has impressed so many people with the
quality of creative products generated by young
children.

How does creativity develop?

Some theorists have studied the way in which
creativity develops in children. Most theories of
child development view young children as highly
creative, with a natural tendency to fantasise,
experiment and explore their environment.
However, this high level of creativity is not
necessarily maintained throughout childhood and
into adulthood. For example, Meador (11) presents
evidence from the USA that creativity (as measured
by divergent thinking tests) declines when children
enter kindergarten, at around the age of five or six.
Runco (12) has studied how creativity develops. He
explains that longitudinal research on trends in
creativity suggests both continuities and

Developing young childrens creativity

discontinuities throughout an individuals lifespan.

In other words, a child identified as highly creative
in early life may or may not consistently show
creativity later on. He argues that this uneven
development may result from the fact that certain
traits and talents develop at different rates and are
influenced by each individuals environment and
life chances.

For example, a child may not choose to engage in

creative thinking because she lacks self-confidence
and does not believe that she has anything of
value to offer. Or maybe she becomes anxious
when given an open-ended task with several
possible solutions. Through observation and
conversation, an adult can work out what is
causing the childs difficulties and encourage her to
work through them.

How does education influence creativity?

Most writers on creativity agree that it is possible
to encourage or indeed to inhibit the development
of creativity in young children. The finding
highlighted by Meador (11), that children are
apparently more creative before they enter
kindergarten, leads to the question of whether this
is a natural consequence of children maturing and
becoming constrained by social conventions, or
whether their experiences in kindergarten
somehow caused the decline.
In order to consider the way in which creativity
can be fostered in educational settings, it may be
helpful to identify some of the components of
creativity in young children. Creativity is closely
bound up with an individuals personality and
emotional life: there is more involved than just
thinking skills.
Russ (13) has developed a model to explain the
relationship between creativity and psychological
processes. This model suggests that the following
three elements are involved:
1. personality traits, such as self-confidence, being able
to tolerate ambiguity, curiosity and motivation
2. emotional processes, such as emotional fantasy in
play, pleasure in challenge, involvement in tasks and
tolerance of anxiety
3. cognitive abilities, such as divergent thinking, ability
to transform thinking (for example, by being able to
reorder information or shift thinking sets), sensitivity

How can educational settings influence creativity?

Mellou (14) suggests that young childrens
creativity can be nurtured through educational
settings in three respects: the creative
environment, creative programmes and creative
teachers and ways of teaching. A brief overview of
recommendations in relation to these three
elements is given below.
The creative environment
Fundamental to the creative environment is the
encouragement of childrens play. Play is strongly
featured in many of the discussions about
creativity in young children. Indeed, older children
and adults are often encouraged to be playful in
order to facilitate creative thinking. Imaginative
play (especially role play) and free choice of
activities would seem to be key components of the
early childhood setting in relation to creativity (see
9, 13, 1518). Both creativity and play require
imagination, insight, problem solving, divergent
thinking, the ability to experience emotion and to
make choices (19).
This does not mean that all play involves
creativity. Prentice (18) suggests that active
involvement is a key feature: For creativity to
flourish in an educational setting, it is necessary
for learners to be actively involved in the process
of their own learning (p. 154). Research has also
shown that it is possible for adults to help children
improve their imaginative play skills, with
apparent positive consequences for their creative
abilities (19).

to problems, breadth of knowledge and judgement.

The implication of this model is that, in order for

children to express creativity, they need a
combination of attributes. Although some children
already have the necessary components, others
may need help, encouragement and skill
development in order to engage in creative activity.

Two other issues have been raised concerning the

environment in early childhood settings. The
stimulation offered by a childs physical
environment is important, as Runco (20) has
pointed out. This could include the size and layout
of the classroom and outdoor space, the quality of
equipment and materials, and access to varied and
new environments. A second key issue is the need
7

Developing young childrens creativity

for children to be given sufficient and sustained

periods of time in which to develop their creative
projects (see 5, 10, 21).
Creative programmes
Can creativity be taught through creative
programmes? The results from research in this area
would seem to suggest that it is possible to enhance
childrens creative skills through specific teaching
programmes, including arts-based ones (see 22, 23).
However, conclusions from two reviews of research
into the transferable effects of arts education have
concluded that the impact of arts programmes on
childrens creativity is not yet proven (24, 25). The
apparent contradiction probably arises from a lack
of sufficient high-quality research, and the
possibility that not all arts activities serve to
enhance creativity.
Creative teachers and creative teaching
Creative teachers and creative teaching are key
components in fostering creativity in young
children. Many writers such as Tegano et al. (9),
Mellou (14), Craft (15), Runco (20) and Edwards
and Springate (21), highlight the role of the
teacher in providing the optimum balance between
structure and freedom of expression for young
children. They explain that teachers and other
early childhood workers can encourage creativity
by behaviours such as:

asking open-ended questions

tolerating ambiguity

modelling creative thinking and behaviour

encouraging experimentation and persistence

praising children who provide unexpected answers.

Malaguzzi (10) has made a number of observations

about the best conditions for developing creativity in
childrens daily experience, which include an
emphasis on interaction with adults and peers (p. 76)
The most favourable situation for creativity seems to
be interpersonal exchange, with negotiation of
conflicts and comparison of ideas and actions being
the decisive elements.
Runco (7) argues that teachers should show an
interest in childrens creative potential and
encourage children to construct their own
personal interpretations of knowledge and events.
8

Some children may need to learn to stand up for

their own ideas, especially when these do not
conform to those of the rest of the group. But
children also need to learn discretion, so that they
can judge when it is appropriate to be divergent
and original, and when it is appropriate to
conform.

Children are encouraged to use drawings

as a graphic language
Adults, therefore, can act as supporters and
coaches, facilitators and models of creativity for
children. But on the other hand, adults also have
the potential to stifle opportunities for creativity
by being overly didactic or prescriptive (9, 10).
They can limit creativity by discouraging fantasy
or by having low expectations about what young
children are able to achieve (14, 18). Several
elements can conspire against the encouragement
of creativity in early years settings, including the
pressure for teachers to focus on literacy and
numeracy, a lack of training in early years
practice, and a tension between meeting the needs
of a class and encouraging the interests of an
individual (26, 27).

The role of creative professionals

In addition to the three aspects already outlined, the
literature contains several references to the potential
of creative professionals to help develop childrens
creativity. For example, the QCAs guidance in 2000
for the Foundation Stage (3) suggests that, in order

Developing young childrens creativity

to facilitate creative development, young children

should have opportunities to work alongside artists
and other creative adults.
In the pre-schools of Reggio Emilia, educators
enable young children to engage in extended
projects. Children are encouraged to use drawings
as a graphic language to record their ideas,
feelings and observations. A key part of Reggio
Emilia settings is the existence of spaces that are
rich in materials, tools and people with
professional competencies (10, p. 74). These
spaces, known as ateliers, are designed to be places
in which childrens different languages can be
explored by them and studied by their teachers
and others in a peaceful atmosphere.
While there is a body of research into the impact
of artists-in-schools schemes, the role of artists in
encouraging young childrens creativity has not
yet been well researched. In other words,
although the involvement of professional artists
and creative workers has considerable potential to
be helpful, we do not have research evidence to
say what kinds of involvement may have the
greatest impact on creativity. This issue is,
however, currently being investigated as part of
the Creative Partnerships Programme (See
www.creative-partnerships.com/)

Some myths about creativity

1.

Creativity is limited to arts subjects.

Although creativity is often associated with
creative subjects, such as art and music,
creativity is not subject specific. Creativity
is a way of approaching problem solving
that can be exercised in different areas. On
the other hand, creativity does not take
place in a vacuum: the way in which
children express creativity will be different
in different curriculum areas.

2.

Children find it easy to transfer learning

from one area/domain to another.
All the evidence shows that most children
find it very difficult to transfer learning
from one area to another. Knowledge and
skills are so context specific that children
may simply fail to recognise that
something they had already learned can be
applied to a new situation. Adults can help
children to make the connection.

3.

The creative process is fun: it should not

be taken too seriously.
Creativity may seem like a fun, selfindulgent activity to counteract the more
serious work of the classroom. But the
creative process presents many challenges.
It requires concentration, persistence and
determination to succeed; it may in fact be
a frustrating and difficult process.
Creativity deserves to be taken seriously.

4.

Creativity is an in-born trait, limited to

the talented few. Highly creative people
will find their own way, regardless of
what happens at school.
Individuals have a different combination
of abilities, personality traits and home
experiences that make them more or less
able to express their creative potential. The
study of highly creative adults shows that
some of them insisted on being creative
almost in spite of their educational
experiences, but this is not an argument
for leaving creativity to chance. Some
children will miss the opportunity to
develop their creativity without
encouragement and support in pre-school
and school.

Conclusion
Creativity is an important human characteristic. It
is perhaps best thought of as a process, requiring
a mixture of ingredients, including personality
traits, abilities and skills. Early years staff can help
young children to develop their creativity by
providing a creative environment, helping
children to build up their skills through play,
behaving creatively themselves and praising
childrens creative efforts.
Remember that people are creative because they
choose to be, so finding out about and
encouraging a childs own interests is an important
starting point. Some children may find it difficult
to express their creativity. Staff can help by
observing their behaviour (especially during
imaginative play), identifying where the difficulty
lies and devising an action plan. But, you may ask,
isnt this just a description of good early childhood
practice? Well yes, but with a creative twist.

Developing young childrens creativity

5.

Children can get all the creative

experience they need from free play and
unstructured arts activities.
Children do benefit from free play and
unstructured arts activities. But left
entirely to their own devices, childrens
play and artwork can become routine and
repetitive. Children need stimulation and
creative problems to solve. Adults can help
children to develop their creative skills
through play.

6.

You dont need to be knowledgeable or

skilful to be creative.
There is a balance to be struck here,
because insisting on extensive knowledge
and skill development can be stultifying.
On the other hand, knowledge and skill are
fundamental to creativity. Existing
knowledge of the world is a starting point
for young childrens play. How can people
express their creativity without developing
the necessary skills? How would you know
if your contribution was original or
appropriate unless you had some
understanding of the area?

SHARP, C. and LE METAIS, J. (2000). The Arts,

Creativity and Cultural Education: An
International Perspective (International Review
of Curriculum and Assessment Frameworks)
[online]. Available: http://www.inca.org.uk/
pdf/finalreport.pdf [13 January, 2004].

ROBINSON REPORT. GREAT BRITAIN.

DEPARTMENT FOR EDUCATION AND
EMPLOYMENT. DEPARTMENT FOR CULTURE,
MEDIA AND SPORT. NATIONAL ADVISORY
COMMITTEE ON CREATIVE AND CULTURAL
EDUCATION (1999). All Our Futures: Creativity,
Culture and Education. London: DfEE.

GARDNER, H. (1999). Intelligence Reframed:

Multiple Intelligences for the 21st Century. New
York, NY: Basic Books.

RUNCO, M.A. (2003). Education for creative

potential, Scandinavian Journal of Educational
Research, 47, 3, 31724.

CRAFT, A. (2003). Creative thinking in the early

years of education, Early Years, 23, 2, 14354.

TEGANO, D.W., MORAN, J.D. and SAWYERS, J.K.

(1991). Creativity in Early Childhood Classrooms
(NEA Early Childhood Education Series). West
Haven, CT: National Education Association.

Note

Reggio Emilia is a community in Northern

Italy that has pioneered a particular approach
to early childhood education, emphasising
creative learning.

References
1

10

SHARP, C. (2001). Developing young childrens

creativity through the arts: what does research
have to offer? Paper presented to an Invitational
Seminar, Chadwick Street Recreation Centre,
London, 14 February [online]. Available:
http://www.nfer.ac.uk/research/papers/
creativity.pdf [13 January, 2004].
QUALIFICATIONS AND CURRICULUM
AUTHORITY (1999). The National Curriculum:
Handbook for Primary Teachers in England Key
Stages 1 and 2. London: DfEE and QCA.
QUALIFICATIONS AND CURRICULUM
AUTHORITY (2000). Curriculum Guidance for
the Foundation Stage. London: QCA.

10 MALAGUZZI, L. (1993). History, ideas, and basic

philosophy: an interview with Lella Gandini.
In: EDWARDS, C., GANDINI, L. and FORMAN,
G. (Eds) The Hundred Languages of Children: The
Reggio Emilia Approach Advanced Reflections.
Second edn. Greenwich, CT: Ablex Publishing.
11 MEADOR, K.S. (1992). Emerging rainbows: a
review of the literature on creativity, Journal
for the Education of the Gifted, 15, 2, 16381.
12 RUNCO, M.A. (Ed.) (1996). Creativity from
Childhood through Adulthood: The Developmental
Issues (New Directions for Child Development
No. 72). San Francisco, CA: Jossey-Bass.
13 RUSS, S.W. (1996). Development of creative
processes in children. In: RUNCO, M.A. (Ed.)
Creativity from Childhood through Adulthood: The
Developmental Issues (New Directions for Child
Development No. 72). San Francisco, CA:
Jossey-Bass.

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14 MELLOU, E. (1996). Can creativity be

nurtured in young children? Early Child
Development and Care, 119, 11930.
15 CRAFT, A. (2000). Creativity across the Primary
Curriculum: Framing and Developing Practice.
London: Routledge.
16 CRAFT, A. (2002). Creativity and Early Years
Education. London: Continuum.
17 MELLOU, E. (1994). The case of intervention
in young childrens dramatic play in order to
develop creativity, Early Child Development and
Care, 99, 5361.
18 PRENTICE, R. (2000). Creativity: a
reaffirmation of its place in early childhood
education, Curriculum Journal, 11, 2, 14558.
19 RUSS, S.W. (2003). Play and creativity:
developmental issues, Scandinavian Journal of
Educational Research, 47, 3, 291303.
20 RUNCO, M.A. (1990). The divergent thinking
of young children: implications of the
research, Gifted Child Today, 13, 4, 379.
21 EDWARDS, C.P. and SPRINGATE, K.W. (1995).
Encouraging Creativity in Early Childhood
Classrooms (ERIC Digest). Urbana, IL: ERIC
Clearinghouse on Elementary and Early
Childhood Education (ED389474).
22 SCOPE, E.E. (1999). A meta-analysis of research
on creativity: the effects of instructional
variables. Unpublished dissertation, Fordham
University.
23 MURDOCK, M.C. (2003). The effects of
teaching programmes intended to stimulate
creativity: a disciplinary view, Scandinavian
Journal of Educational Research, 47, 3, 33957.
24 WINNER, E. and COOPER, M. (2000). Mute
those claims: no evidence (yet) for a causal
link between arts study and academic
achievement, Journal of Aesthetic Education, 34,
34, 165.
25 SHARP, C., BENEFIELD, P. and KENDALL, L.
(1998). The Effects of Teaching and Learning in
the Arts: A Review of Research. London: QCA.

26 DAVID, T. (2003). What Do We Know about

Teaching Young Children? A Professional User
Review of UK Research Based on the BERA
Academic Review Early Years Research: Pedagogy,
Curriculum and Adult Roles, Training and
Professionalism. Nottingham: British
Educational Research Association.
27 DOWNING, D., JOHNSON, F. and KAUR, S.
(2003). Saving a Place for the Arts? A Survey of
the Arts in Primary Schools in England (LGA
Research Report No. 41). Slough: NFER.
About the author
Caroline Sharp is a Principal Research Officer in
the Department of Professional and Curriculum
Studies at the National Foundation for Educational
Research. Her research interests are in early
childhood, arts and creativity and study support.
Address for correspondence
[email protected]
Copying permitted
The NFER grants to educational institutions and
interested bodies permission to reproduce this item
in the interests of wider dissemination.

Related websites
www.ncaction.org.uk/creativity
The Creativity website from the QCA is the result
of a project to research creativity in schools. It
offers practical ideas on how to promote pupil's
creativity, thinking and behaviour. The QCA
invites schools to contribute to the ongoing work
of the project, go to by sending examples and
telling them how pupils' creativity has been
promoted in the classroom and school.
www.creative-partnerships.com/
Creative Partnerships is a government-funded
national initiative, established to develop
schoolchildren's potential, ambition, creativity and
imagination. The initiative provides school
children across England with the opportunity to
develop creativity in learning and to take part in
cultural activities.
Creative Partnerships does not fund projects but
aims to establish collaborative partnerships to enable
the development of projects that reflect the interests,
specialisms and shared vision of those involved.
11

Developing young childrens creativity

www.refocus-cambridge.co.uk
Refocus Cambridge and Cambridge Centre for
Curiosity and Imagination in collaboration with
the Kaetsu Educational and Cultural Centre host
the 100 languages of children exhibition.
ERIC (Educational Resources Information Center,
US) publishes digests on all aspects of education.
The following may be of interest for further
reading on the topic of creativity and young
children.
www.ericfacility.net/databases/ERIC_Digests/
ed306008.html
Moran, James D., III (1998). Creativity in Young
Children. Urbana, IL: ERIC Clearinghouse on
Elementary and Early Childhood Education
(ED306008). This digest explores factors that affect

12

creativity in children and techniques for fostering

this quality. The need to study creativity, and the
definition of creativity within a developmental
framework, are also discussed. (Original abstract)
www.ericfacility.net/databases/ERIC_Digests/
ed389474.html
Edwards, C.P. and Springate, K.W. (1995).
Encouraging Creativity in Early
Childhood Classrooms. Urbana, IL: ERIC
Clearinghouse on Elementary and Early Childhood
Education (ED389474). This digest considers both
teacher-initiated and child-initiated strategies for
enhancing young childrens self-expression and
creativity. It reports on the Reggio Emilia approach
to early childhood education, which considers the
arts to be one of the hundred languages of
children.