Promoting Creativity in Early Childhood Art Education
Art is a fundamental part of early childhood education, with many preschools displaying children’s artwork on their walls. However, I often notice that the same designs are used to decorate the walls, only with different children’s names. These “cookie-cutter” artworks are created by children following step-by-step instructions or templates, with the goal of making their art look like the model. While these activities may result in pleasant decorations and help children develop fine motor skills, they can limit the development of creativity. Every child has an innate ability to create, but this natural ability may be stifled when children are directed too rigidly by adult authority (Lowenfeld, as cited in Zimmerman & Zimmerman, 2000). Art lessons should go beyond simply practicing motor skills; they should inspire creativity, foster imagination, encourage curiosity, and allow children to trust their creative instincts.
Intrinsic Motivation Promotes Creativity and Autonomy.
How can educators cultivate creativity in early childhood education? Jaquith (2011) argues that intrinsic motivation—driven by personal interest and curiosity—activates creativity. Many educators have observed children becoming fully immersed in activities they enjoy, losing track of time in the process. Conversely, when children are not interested in an activity, they quickly lose attention and disengage. Jaquith (2011) emphasizes that intrinsic motivation and students’ interests are key to solving creative problems. When students are motivated, they become self-directed learners. Hunter-Doniger (2020) adds that creativity, play, and autonomy are intertwined throughout the art-making process. In this context, I will examine three educational methods that foster creativity in early childhood: Forest School, the Reggio Emilia approach, and Waldorf education.
Forest School
In Forest Schools, children spend much of the day outdoors, interacting with nature. This time outdoors offers a wealth of opportunities for children to experience the natural world, encountering a variety of stimuli (Schäffer & Thomas, 2012). Outdoor play was once a normal part of childhood, but today, it is becoming increasingly rare due to the prevalence of urban environments (Malone, as cited in Schäffer & Thomas, 2012). Forest schools intentionally integrate nature into the curriculum, believing that children learn best through free play in natural settings. Educators intervene when necessary but mostly allow children to explore and process their experiences independently, whether those experiences are joyful or challenging (Forest School Canada, 2014).
Taylor (2019) describes her role as a “nature elder,” someone who shares trust and wonder with the children. Wonder and curiosity become powerful intrinsic motivators for children in this environment. Jaquith (2011) asserts that intrinsic motivators, such as personal interest and curiosity, stimulate creativity. When children explore nature, they often face unexpected challenges, which require creative solutions. As Peter Gray (as cited in Taylor, 2019) notes, “Uncertain times require personal responsibility, independence of thought, self-initiative, self-assertion, flexibility, creativity, imagination, and willingness to take risks.” By allowing children to take charge of their learning, Forest Schools foster self-direction and creativity.
While Forest Schools utilize natural environments for learning, the Reggio Emilia Approach focuses on creating learning spaces that support child-centered education.
Reggio Emilia Approach
The Reggio Emilia approach places a strong emphasis not only on the outside environment but also on the indoor space. In this model, the environment itself is considered a teacher (Strong-Wilson & Ellis, 2007). The key idea is that the environment should feel welcoming, engaging, and stimulating from the child’s perspective. Strong-Wilson and Ellis (2007) argue that how children perceive and interact with their surroundings is essential to their learning process. Educators may arrange materials, furniture, and toys in unexpected ways to spark curiosity and discussion. For example, a teacher might introduce light tables, inviting children to experiment with materials to see how they look when illuminated. Such environments provoke further exploration, inviting children to ask questions and explore new possibilities.
The Reggio Emilia approach is also characterized by its negotiated curriculum, where children and educators co-create learning experiences. As Strong-Wilson and Ellis (2007) observe, “From a child’s point of view, an environment is what the child can make of it. Children will often find uses for objects and spaces that adults do not anticipate or intend” (p. 43). Educators in this approach guide children by creating an environment that encourages free exploration and creativity.
In contrast, Waldorf Education emphasizes the role of imagination in creativity.
Waldorf Education
In Waldorf education, imaginative play is highly valued and seen as a key source of creativity. Teachers are tasked with providing a safe, nurturing environment where children can immerse themselves in imaginative worlds. Waldorf preschool curricula prioritize creative play, helping children to develop rich imaginations. Graduates of Waldorf schools, in interviews conducted by Nordlund (2006), explained the importance of not drawing a strict line between play and learning, particularly during early childhood when mental stages are still developing. In Waldorf schools, imaginary play is considered one of the most important forms of child-centered creativity. It allows children to hold an image or idea in their minds and manipulate it in various ways (Nordlund, 2013).
Imagination, in Waldorf philosophy, is the wellspring of creativity. As Nordlund (2013) notes, Waldorf educators emphasize that the desire to wonder is more important than specific knowledge or skills. Steiner, the founder of Waldorf education, believed that cultivating a sense of wonder about the world was central to a child’s development. Waldorf educators create environments that stimulate curiosity and invite children to explore the world through their imaginations. According to Uhrmacher (2004), Steiner believed that environments themselves possess life and should encourage thinking. In Waldorf schools, the environment is considered an active partner in the learning process, designed to foster curiosity, creativity, and independent thought.
Environment to Promote Creativity
A common theme in Forest Schools, Reggio Emilia, and Waldorf education is the critical role that the environment plays in fostering creativity. Whether the environment is nature-based or carefully designed, the focus is not on how the environment looks, but on how it encourages children to engage with it. Educators create interactive, stimulating spaces that provoke wonder, curiosity, and creativity. The goal is to offer an environment where children are free to explore, make choices, and develop their autonomy.
These three methods also share an important characteristic: they do not require step-by-step instructions for children to follow. Gardner (as cited in Zimmerman & Zimmerman, 2000, p. 88) suggests that “children’s natural art abilities unfold if adults provide equipment and encouragement.” By offering open-ended materials and minimal direction, educators foster children’s autonomy and creativity. Gardner argues that when young children are given the freedom to explore, they will naturally engage in art, and any adult interference may impede the development of their innate abilities (Zimmerman & Zimmerman, 2000).
Instead of guiding children through rigid instructions, educators should observe, document, and reflect on each child’s learning process. Taylor (2019) notes the importance of data collection, stating that reviewing documentation allows educators to see the learning process objectively and adapt their teaching as needed. By observing children’s interests and following their cues, educators can support the development of their creativity and autonomy.
Moving Beyond Cookie-Cutter Art
To encourage creativity in young children, educators may not need to prepare rigid lesson plans or templates. Instead, they should focus on understanding and responding to children’s interests. Massey (2017) suggests that art educators can best support children’s artistic development by becoming “researchers studying those children” (p. 9). The lesson of the day should be flexible, designed to help children explore topics that emerge from their natural interests. When educators tap into these interests, they can challenge children’s intellectual growth and support their curiosity (Massey, 2017).
While some educators may feel uncomfortable without a fixed lesson plan, Taylor (2019) encourages educators to embrace the unknown and take communal risks in order to support children’s freedom. “I strive to support children’s freedom—even when that means overcoming my fears” (p. 63). Just as we teach children that making mistakes is part of the learning process, art educators can model the importance of embracing uncertainty, taking risks, and pushing beyond the confines of cookie-cutter art.
References
David Sobel. (2014). Learning to Walk between the Raindrops: The Value of Nature Preschools and Forest Kindergartens. Children, Youth and Environments, 24(2), 228-238.
Forest School Canada. 2014. Forest and Nature School in Canada: A Head, Heart, Hands Approach to Outdoor Learning. http://childnature.ca/ wp-content/uploads/2017/10/FSC-Guide-1.pdf.
Gude, O. (2015). Aesthetics making meaning. Studies in Art Education, 50(1), 98-103.
Hunter-Doniger, T. (2020). Non-Standard Pedagogies in Art Education: An Investigation of Child-Centered Approaches, Translations in Art Education. 1 (2) 1-4.
Jaquith, D. (2011). When is Creativity? Intrinsic Motivation and Autonomy in Children’s Artmaking. Art Education, 64(1), 14-19.
Knut Løndal, Karoline B. Norbeck, & Anne-Karine H. Thorén. (2015). How Does a Manmade Outdoor Area in a Large, Urban Kindergarten Afford Physical Activity to 5-Year-Old Children? Children, Youth and Environments, 25(2), 128-152. doi:10.7721/chilyoutenvi.25.2.0128
Massey, K. (2017). Art at the Heart: Creating a Meaningful Art Curriculum for Young Children. YC Young Children, 72(5), 8-13.
Nordlund, C. (2006). Art experiences in Waldorf education: Graduates’ making reflections. Retrieved from https://mospace.umsystem.edu/xmlui/handle/10355/4457
Nordlund, C. (2013). Waldorf Education: Breathing Creativity. Art Education, 66(2), 13-19.
Strong-Wilson, T., & Ellis, J. (2007). Children and Place: Reggio Emilia’s Environment as Third Teacher. Theory Into Practice, 46(1), 40-47.
Taylor, H. (2019). From Fear to Freedom: Risk and Learning in a Forest School. YC Young Children, 74(2), 60-67. doi:10.2307/26808914
Uhrmacher, B. (2004). Chapter 5: An Environment for Developing Souls: The Ideas of Rudolf Steiner. Counterpoints, 263, 97-120.
Zimmerman, E., & Zimmerman, L. (2000). Art Education and Early Childhood Education: The Young Child As Creator and Meaning Maker within a Community Context. Young Children, 55(6), 87-92